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Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I'm very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them! Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms.

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles.

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.  Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things: Writing and Materiality in Early Modern China (Columbia UP, 2023) broadens understandings of the links between the literary and the material. Huijun Mai is an Assistant Professor in Medieval Chinese Studies at the University of California, Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms.

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Margaret Hillenbrand's On the Edge: Feeling Precarious in China (Columbia UP, 2023) examines the negative cultural forms that have emerged in response to China's exclusionary contemporary socioeconomic system. Hillenbrand considers the social strain exerted on members of the “underclass,” the 300 million migrant workers whose toil has underwritten China's economic rise since the passing of the command economy. She describes the socio-legal condition of disenfranchisement, an internal displacement or “civic-half life” experienced by marginalized workers, as “zombie citizenship,” a purposefully inflammatory definition that evokes both the workers' experience of civic suspension and their class others' fears of falling into similar abjection. In this compelling narrative, contemporary Chinese social, legal, and cultural life is wrapped in an ambient mood of jeopardy.  Through close readings of diverse texts, performances, and films that both amplify and diffuse the violent conflicts of dispossession and dislocation, she makes the case for culture's capacity to “intervene palpably in social experience.” The cultural forms Hillenbrand introduces and analyzes themselves teeter on the edge, on one hand, the edge of exploitation and aesthetic empowerment. The ugly feelings these works evoke affectively concretize the “ever-impending dissolution of that apparent boundary” between those already on the cliff's edge and those who may yet come to share this precarious space. I look forward to probing the complexities of this freighted and violent cultural work with our guest. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially.

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/buddhist-studies

Since the early days of Buddhism in China, monastics and laity alike have expressed a profound concern with the past. In voluminous historical works, they attempted to determine as precisely as possible the dates of events in the Buddha's life, seeking to iron out discrepancies in varying accounts and pinpoint when he delivered which sermons. Buddhist writers chronicled the history of the Dharma in China as well, compiling biographies of eminent monks and nuns and detailing the rise and decline in the religion's fortunes under various rulers. They searched for evidence of karma in the historical record and drew on prophecy to explain the past. John Kieschnick provides an innovative, expansive account of how Chinese Buddhists have sought to understand their history through a Buddhist lens. Exploring a series of themes in mainstream Buddhist historiographical works from the fifth to the twentieth century, he looks not so much for what they reveal about the people and events they describe as for what they tell us about their compilers' understanding of history. Kieschnick examines how Buddhist doctrines influenced the search for the underlying principles driving history, the significance of genealogy in Buddhist writing, and the transformation of Buddhist historiography in the twentieth century. This book casts new light on the intellectual history of Chinese Buddhism and on Buddhists' understanding of the past. As I say in the interview, Buddhist Historiography in China (Columbia University Press, 2022) is one of those that you hope exists out there somewhere, and are delighted when you find out it does! This book is highly recommended not only for those with a keen interest in Buddhism and Chinese history, but also those fascinated by questions of historiography and temporarily more broadly.  Lance Pursey is a postdoctoral research fellow at the University of Aberdeen where they work on the history and archaeology of the Liao dynasty. They are interested in questions of identity, and the complexities of working with different kinds of sources textually and materially. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/central-asian-studies

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world.

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants. The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group's rituals. Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin.

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

In The Profits of Nature: Colonial Development and the Quest for Resources in Nineteenth-Century China (Columbia UP, 2020), Peter Lavelle offers a fascinating narrative history of natural resource development in China during the tumultuous 19th-century. Faced with an unprecedented confluence of natural disasters, wars, rebellions, foreign incursions and social problems, Qing Dynasty officials and elites looked to the natural world as a source of wealth, security and power. Lavelle grounds his narrative in the life and career of Zuo Zongtang (1812-1885), who was an avid student of geography and agricultural sciences, in addition to being one the leading statesmen of his generation. In efforts to rebuild livelihoods, relieve demographic pressures, secure government revenues and expand control over borderland regions, Zuo and his contemporaries harnessed long-standing traditions of knowledge and established new connections between China's borderlands and its eastern regions. What emerges from The Profits of Nature is a fresh and richly detailed chapter in late Qing history, written through the nexus of crisis, Qing colonialism and the environment. Zachary Lowell holds an MA in global studies from Humboldt-Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire.

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/buddhist-studies

What happened to the Buddhist scholars who stayed behind in Tibet and China after the Fourteenth Dalai Lama and thousands of Tibetans fled from the People's Liberation Army in 1959? In Lineages of the Literary: Tibetan Buddhist Polymaths of Socialist China (Columbia University Press 2021), Nicole Willock discovers through the stories and writings of the “Three Polymaths” (Tib. mkhas pa mi gsum) of socialist China that contrary to common assumptions, Tibetan Buddhist leaders active in the People's Republic of China were not mere political “collaborators.” Willocks reveals in the book that the three Buddhist polymaths, Tséten Zhabdrung (1910 – 1985), Mugé Samten (1914 – 1993), and Dungkar Rinpoché (1927 – 1997) alternately safeguarded, taught, adapted, celebrated, and discarded religious epistemes, practices, and institutions in a post-Cultural Revolution PRC. The title of the “Three Polymaths” is often used to refer to Mar Shakyamuni, Yo Géjung, and Tsang Rabsel, who according to Tibetan Buddhist historiography, preserved the Buddhist monastic lineage from the tyrannical king Langdarma (d. 842) one millennium ago. Willock points out that since the early 1980s, the title of the “Three Polymaths” has been passed on to the twentieth-century Buddhist scholars Tséten Zhabdrung, Mugé Samten, and Dungkar Rinpoché, who became not only heroes to many Tibetans in China but also cultural icons symbolizing both the survival and the continuance of Tibetan culture in the post-Mao era. In Lineages of the Literary, Willock explores the Three Polymaths' writings from a wide range of literary genres, including more traditional ones such as autobiographical life writing (Tib. byung ba brjod pa) and Buddhist poetry, as well as modern innovations such as encyclopedia entries (Tib. tshig mdzod) and academic essays (Tib. dpyad rtsom). Willock argues that the writings of the Three Polymaths highlight the way they adapt and disregard religious epistemes for the purposes of revitalizing Tibetan culture in their own fashion. Interestingly, the Three Polymaths' writings do not engage explicitly with the social-political contexts of their lives. What is revealed instead, Willock argues, is how these three Tibetan Buddhist leaders acted as moral agents who strategically deployed Buddhist epistemes to impart varying visions of Tibetan culture in the post-Mao era. Taking Saba Mahmood's idea of “moral agency,” Willock finds that “[T]he culturally specific disciplines and religious epistemes that [the Three Polymaths] accessed in their unique subject positions as male Géluk Buddhist elites allowed them, unlike many other leaders in post-Mao China, to cross state-imposed divides between secular and religious institutions that might otherwise have been impossible to bridge.” Daigengna Duoer is a Ph.D. student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation is a digital humanities project mapping transnational and transregional Buddhist networks connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and the Japanese Empire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen's career, Eugenia Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen's activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China's economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China: Local Innovation and Translated Technologies in the Making of a Cosmetics Empire, 1900-1940 (Columbia University Press) offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change. Eugenia Lean is professor of history and East Asian languages and cultures and current director of the Weatherhead East Asian Institute at Columbia University. This interview was conducted by Lukas Rieppel, a historian of science and capitalism at Brown University. You can learn more about his research here, or find him on twitter here.

In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen's career, Eugenia Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen's activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China's economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China: Local Innovation and Translated Technologies in the Making of a Cosmetics Empire, 1900-1940 (Columbia University Press) offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change. Eugenia Lean is professor of history and East Asian languages and cultures and current director of the Weatherhead East Asian Institute at Columbia University. This interview was conducted by Lukas Rieppel, a historian of science and capitalism at Brown University. You can learn more about his research here, or find him on twitter here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

How did Buddhist women access religious experience and transcendence in a Confucian patriarchal system in imperial China? How were Buddhist practices carried out in the intimate settings of a boudoir? In Dr. Yuhang Li's recent monograph, Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China (Columbia University Press), the answers to these questions can be found in creative usages of “women's things” and the female body. Dr. Li shows in this book that through expressive depictions of Guanyin, or the Bodhisattva Avalokiteśvara in various media such as painting and embroidery, and through embodiments of the deity via jewelry and dance, Buddhist women in Ming-Qing China were able to forge personal connections with the Bodhisattva of Compassion. Dr. Li argues that this connection was made possible through “mimetic devotion,” which allowed the faithful devotees to use their own bodies and material things to “become” the feminized form of the popular Buddhist deity. Yuhang Li is an assistant professor of Chinese art in the Department of Art History at the University of Wisconsin-Madison. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional networks of Buddhism connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and Imperial Japan. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did Buddhist women access religious experience and transcendence in a Confucian patriarchal system in imperial China? How were Buddhist practices carried out in the intimate settings of a boudoir? In Dr. Yuhang Li's recent monograph, Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China (Columbia University Press), the answers to these questions can be found in creative usages of “women's things” and the female body. Dr. Li shows in this book that through expressive depictions of Guanyin, or the Bodhisattva Avalokiteśvara in various media such as painting and embroidery, and through embodiments of the deity via jewelry and dance, Buddhist women in Ming-Qing China were able to forge personal connections with the Bodhisattva of Compassion. Dr. Li argues that this connection was made possible through “mimetic devotion,” which allowed the faithful devotees to use their own bodies and material things to “become” the feminized form of the popular Buddhist deity. Yuhang Li is an assistant professor of Chinese art in the Department of Art History at the University of Wisconsin-Madison. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional networks of Buddhism connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and Imperial Japan.

Howard Chiang's new book is a masterful study of the relationship between sexual knowledge and Chinese modernity. After Eunuchs: Science, Medicine, and the Transformation of Sex in Modern China (Columbia University Press, 2018) guides readers through the history of eunuchs in the late 19th and early 20th centuries, the techniques of visualization that helped establish the conditions that produced sex as an object of empirical knowledge, the rise of sexology in the 1920s, the discourse of “sex change” in the press from the 1920s to the 1940s, and a famous case of the “first” Chinese transsexual in 1950s Taiwan. It is a must-read for anyone interested in the history of sexuality in China, and will be of special interest for readers who are interested in bringing Foucault-inspired analyses to the craft of history. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Howard Chiang's new book is a masterful study of the relationship between sexual knowledge and Chinese modernity. After Eunuchs: Science, Medicine, and the Transformation of Sex in Modern China (Columbia University Press, 2018) guides readers through the history of eunuchs in the late 19th and early 20th centuries, the techniques of visualization that helped establish the conditions that produced sex as an object of empirical knowledge, the rise of sexology in the 1920s, the discourse of “sex change” in the press from the 1920s to the 1940s, and a famous case of the “first” Chinese transsexual in 1950s Taiwan. It is a must-read for anyone interested in the history of sexuality in China, and will be of special interest for readers who are interested in bringing Foucault-inspired analyses to the craft of history. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Howard Chiang's new book is a masterful study of the relationship between sexual knowledge and Chinese modernity. After Eunuchs: Science, Medicine, and the Transformation of Sex in Modern China (Columbia University Press, 2018) guides readers through the history of eunuchs in the late 19th and early 20th centuries, the techniques of visualization that helped establish the conditions that produced sex as an object of empirical knowledge, the rise of sexology in the 1920s, the discourse of “sex change” in the press from the 1920s to the 1940s, and a famous case of the “first” Chinese transsexual in 1950s Taiwan. It is a must-read for anyone interested in the history of sexuality in China, and will be of special interest for readers who are interested in bringing Foucault-inspired analyses to the craft of history. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here.

Howard Chiang's new book is a masterful study of the relationship between sexual knowledge and Chinese modernity. After Eunuchs: Science, Medicine, and the Transformation of Sex in Modern China (Columbia University Press, 2018) guides readers through the history of eunuchs in the late 19th and early 20th centuries, the techniques of visualization that helped establish the conditions that produced sex as an object of empirical knowledge, the rise of sexology in the 1920s, the discourse of “sex change” in the press from the 1920s to the 1940s, and a famous case of the “first” Chinese transsexual in 1950s Taiwan. It is a must-read for anyone interested in the history of sexuality in China, and will be of special interest for readers who are interested in bringing Foucault-inspired analyses to the craft of history. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here.

The essays in Jan Kiely and J. Brooks Jessup's new edited volume, Recovering Buddhism in Modern China (Columbia University Press, 2016), collectively make a compelling argument that Buddhism and Buddhists played important roles in the modern transformations of China from the twentieth century through today. Though history scholarship has, relatively...