This work presents the first English-language account of the role of the important thinker, writer and politician, Luang Wichit Wathakan, in the development of state nationalism during the period of political upheaval and conflict immediately following the overthrow of the absolute monarchy in 1932.

This revised and updated edition of the widely praised Democracy and National Identity in Thailand provides readers with a fascinating discussion of how debates about democracy and national identity in Thailand have evolved from the period of counter-insurgency in the 1960s to the current period. Focusing on state and civil society centered democratic projects, Connors uses original Thai language sources to trace how the Thai state developed a democratic ideology that meshed with idealized notions of Thai identity, focusing on the monarchy. The book moves on to explore how non-state actors have mobilized notions of democracy and national identity in their battle against authoritarian rule. It also invites readers to explore democratic ideology as a form of power aimed at creating ideal citizens able to support elite national projects.

The powerful Thai politician Banharn Silpa-archa has been disparaged as a corrupt operator who for years channeled excessive state funds into developing his own rural province. This book reinterprets Banharm's career and offers a detailed portrait of the voters who support him. Relying on extensive interviews, the author shows how Banharm's constituents have developed a strong provincial identity based on their pride in his advancement of their province, Suphanburi, which many now call "Banharm-buri," the place of Banharm. Yoshinori Nishizaki's analysis challenges simplistic perceptions of rural Thai voters and raises vital questions about contemporary democracy in Thailand. Yoshinori Nishizaki's close and thorough examination of the numerous public construction projects sponsored and even personally funded by Banharn clearly illustrates this politician’s canny abilities and tireless, meticulous oversight of his domain. Banharn’s constituents are aware that Suphanburi was long considered a "backward" province by other Thais—notably the Bangkok elite. Suphanburians hold the neglectful central government responsible for their province’s former sorry condition and humiliating reputation. Banharn has successfully identified himself as the antithesis to the inefficient central state by promoting rapid "development" and advertising his own role in that development through well-publicized donations, public ceremonies, and visits to the sites of new buildings and highways. Much standard literature on rural politics and society in Thailand and other democratizing countries in Southeast Asia would categorize this politician as a typical "strongman," the boss of a semiviolent patronage network that squeezes votes out of the people. That standard analysis would utterly fail to recognize and understand the grassroots realities of Suphanburi that Nishizaki has captured in his study. This compassionate, well-grounded analysis challenges simplistic perceptions of rural Thai voters and raises vital questions about contemporary democracy in Thailand.

A History of Thailand offers a lively and accessible account of Thailand's political, economic, social, and cultural history.

The interplay of the local and the global in contemporary Thai art, as artists strive for international recognition and a new meaning of the national. Since the 1990s, Thai contemporary art has achieved international recognition, circulating globally by way of biennials, museums, and commercial galleries. Many Thai artists have shed identification with their nation; but “Thainess” remains an interpretive crutch for understanding their work. In this book, the curator and critic David Teh examines the tension between the global and the local in Thai contemporary art. Writing the first serious study of Thai art since 1992 (and noting that art history and criticism have lagged behind the market in recognizing it), he describes the competing claims to contemporaneity, as staked in Thailand and on behalf of Thai art elsewhere. He shows how the values of the global art world are exchanged with local ones, how they do and don't correspond, and how these discrepancies have been exploited. How can we make sense of globally circulating art without forgoing the interpretive resources of the local, national, or regional context? Teh examines the work of artists who straddle the local and the global, becoming willing agents of assimilation yet resisting homogenization. He describes the transition from an artistic subjectivity couched in terms of national community to a more qualified, postnational one, against the backdrop of the singular but waning sovereignty of the Thai monarchy and sustained political and economic turmoil. Among the national currencies of Thai art that Teh identifies are an agricultural symbology, a Siamese poetics of distance and itinerancy, and Hindu-Buddhist conceptions of charismatic power. Each of these currencies has been converted to a legal tender in global art—signifying sustainability, utopia, the conceptual, and the relational—but what is lost, and what may be gained, in such exchanges?

A History of Thailand offers a lively and accessible account of Thailand's political, economic, social and cultural history. This book explores how a world of mandarin nobles and unfree peasants was transformed and examines how the monarchy managed the foundation of a new nation-state at the turn of the twentieth century. The authors capture the clashes between various groups in their attempts to take control of the nation-state in the twentieth century. They track Thailand's economic changes through an economic boom, globalisation and the evolution of mass society. This edition sheds light on Thailand's recent political, social and economic developments, covering the coup of 2006, the violent street politics of May 2010, and the landmark election of 2011 and its aftermath. It shows how in Thailand today, the monarchy, the military, business and new mass movements are players in a complex conflict over the nature and future of the country's democracy.

Manners have long been a central concern of Thai society. Kings, aristocrats, prime ministers, monks, army generals, politicians, poets, novelists, journalists and teachers have produced a large corpus of literature that sets out models of appropriate behaviour. These include such things as how to stand, walk, sit, pay homage, prostrate oneself in the presence of high-status people, sleep, eat, manage bodily functions, dress, pay respect to superiors, deal with inferiors, socialize, and play. These modes of conduct have been taught or enforced by families, monasteries, court society, and, in the twentieth century, the state, through the education system, the bureaucracy, and the mass media. In this innovative new social history, based on Thai manners and etiquette manuals dating from the early nineteenth century to the late twentieth century, Patrick Jory presents the first ever history of manners in Thailand and challenges the idea of Western influence as the determinant of change in ideals of conduct.