A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Placing Empire examines the spatial politics of Japanese imperialism through a study of Japanese travel and tourism to Korea, Manchuria, and Taiwan between the late nineteenth century and the early 1950s. In a departure from standard histories of Japan, this book shows how debates over the role of colonized lands reshaped the social and spatial imaginary of the modern Japanese nation and how, in turn, this sociospatial imaginary affected the ways in which colonial difference was conceptualized and enacted. The book thus illuminates how ideas of place became central to the production of new forms of colonial hierarchy as empires around the globe transitioned from an era of territorial acquisition to one of territorial maintenance.

The Spanish Empire was a complex web of places and peoples. Through an expansive range of essays that look at Africa, the Americas, Asia, the Caribbean, and the Pacific, this volume brings a broad range of regions into conversation. The contributors focus on nuanced, comparative exploration of the processes and practices of creating, maintaining, and transforming cultural place making within pluralistic Spanish colonial communities. The Global Spanish Empire argues that patterned variability is necessary in reconstructing Indigenous cultural persistence in colonial settings. The volume’s eleven case studies include regions often neglected in the archaeology of Spanish colonialism. The time span under investigation is extensive as well, transcending the entirety of the Spanish Empire, from early impacts in West Africa to Texas during the 1800s. The contributors examine the making of a social place within a social or physical landscape. They discuss the appearance of hybrid material culture, the incorporation of foreign goods into local material traditions, the continuation of local traditions, and archaeological evidence of opportunistic social climbing. In some cases, these changes in material culture are ways to maintain aspects of traditional culture rather than signifiers of new cultural practices. The Global Spanish Empire tackles broad questions about Indigenous cultural persistence, pluralism, and place making using a global comparative perspective grounded in the shared experience of Spanish colonialism. Contributors Stephen Acabado Grace Barretto-Tesoro James M. Bayman Christine D. Beaule Christopher R. DeCorse Boyd M. Dixon John G. Douglass William R. Fowler Martin Gibbs Corinne L. Hofman Hannah G. Hoover Stacie M. King Kevin Lane Laura Matthew Sandra Montón-Subías Natalia Moragas Segura Michelle M. Pigott Christopher B. Rodning David Roe Roberto Valcárcel Rojas Steve A. Tomka Jorge Ulloa Hung Juliet Wiersema

Seeing like the nation -- The new territories -- Boundary narratives -- Local color -- Speaking Japanese

"The delicate arc of these poems intimates—rather than tells—a love story: celebration, fear of loss, storm, abandonment, an opening forth. Richie Hofmann disciplines his natural elegance into the sterner recognitions that matter: 'I am a little white omnivore,' the speaker of Second Empire discovers. Mastering directness and indirection, Hofmann's poems break through their own beauty."—Rosanna Warren This debut's spare, delicate poems explore ways we experience the afterlife of beauty while ornately examining lust, loss, and identity. Drawing upon traditions of amorous sonnets, these love-elegies desire an artistic and sexual connection to others—other times, other places—in order to understand aesthetic pleasures the speaker craves. Distant and formal, the poems feel both ancient and contemporary. Antique Book The sky was crazed with swallows. We walked in the frozen grass of your new city, I was gauzed with sleep. Trees shook down their gaudy nests. The ceramic pots were caparisoned with snow. I was jealous of the river, how the light broke it, of the skein of windows where we saw ourselves. Where we walked, the ice cracked like an antique book, opening and closing. The leaves beneath it were the marbled pages. Richie Hofmann is the winner of a Ruth Lilly Fellowship from the Poetry Foundation, and his poems have appeared or are forthcoming in the New Yorker, Poetry, the Kenyon Review, and Ploughshares. A graduate of the Johns Hopkins University MFA program, he is currently a Creative Writing Fellow in Poetry at Emory University.

"Because imperialism has had such an appalling ideological reputation, we’ve lost sight of its excitement, the breathless anticipation of adventures in far-off lands. The Attractive Empire is a tour de force of enthralling historical scholarship that puts the appeal, and seductions, of imperialism on display, without underestimating its ugly consequences. Like its chosen subject, the book covers an astonishing array of texts, events, people, and issues. The clarity and vividness of the writing make it work effortlessly. Baskett’s organizational skills, narrative, and rhetoric deftly orchestrate a complex subject." —Darrell William Davis, University of New South Wales "Michael Baskett removes imperial Japanese film from its solitary confinement and commandingly analyzes how it functioned internationally. He commits a depth of research rarely found in English-language studies of Japanese cinema, and his mastery of the primary and secondary sources from beyond Japan’s borders distinctly set his book apart from previous scholarship on the subject. Not only is this a work that historians and film scholars will appreciate but also one that I look forward to assigning to undergraduates." —Barak Kushner, Cambridge University Japanese film crews were shooting feature-length movies in China nearly three decades before Akira Kurosawa’s Rashomon (1950) reputedly put Japan on the international film map. Although few would readily associate Japan’s film industry with either imperialism or the domination of world markets, the country’s film culture developed in lock step with its empire, which, at its peak in 1943, included territories from the Aleutians to Australia and from Midway Island to India. With each military victory, Japanese film culture’s sphere of influence expanded deeper into Asia, first clashing with and ultimately replacing Hollywood as the main source of news, education, and entertainment for millions. The Attractive Empire is the first comprehensive examination of the attitudes, ideals, and myths of Japanese imperialism as represented in its film culture. In this stimulating new study, Michael Baskett traces the development of Japanese film culture from its unapologetically colonial roots in Taiwan and Korea to less obvious manifestations of empire such as the semicolonial markets of Manchuria and Shanghai and occupied territories in Southeast Asia. Drawing on a wide range of previously untapped primary sources from public and private archives across Asia, Europe, and the United States, Baskett provides close readings of individual films and trenchant analyses of Japanese assumptions about Asian ethnic and cultural differences. Finally, he highlights the place of empire in the struggle at legislative, distribution, and exhibition levels to wrest the "hearts and minds" of Asian film audiences from Hollywood in the 1930s as well as in Japan’s attempts to maintain that hegemony during its alliance with Nazi Germany and Fascist Italy.

Most studies of Puerto Rico’s relations with the United States have focused on the sugar industry, recounting a tale of victimization and imperial abuse driven by the interests of U.S. sugar companies. But inPuerto Ricans in the Empire, Teresita A. Levy looks at a different agricultural sector, tobacco growing, and tells a story in which Puerto Ricans challenged U.S. officials and fought successfully for legislation that benefited the island. Levy describes how small-scale, politically involved, independent landowners grew most of the tobacco in Puerto Rico. She shows how, to gain access to political power, tobacco farmers joined local agricultural leagues and the leading farmers’ association, the Asociación de Agricultores Puertorriqueños (AAP). Through their affiliation with the AAP, they successfully lobbied U.S. administrators in San Juan and Washington, participated in government-sponsored agricultural programs, solicited agricultural credit from governmental sources, and sought scientific education in a variety of public programs, all to boost their share of the tobacco-leaf market in the United States. By their own efforts, Levy argues, Puerto Ricans demanded and won inclusion in the empire, in terms that were defined not only by the colonial power, but also by the colonized. The relationship between Puerto Rico and the United States was undoubtedly colonial in nature, but, as Puerto Ricans in the Empire shows, it was not unilateral. It was a dynamic, elastic, and ever-changing interaction, where Puerto Ricans actively participated in the economic and political processes of a negotiated empire.

Building the Devil’s Empire is the first comprehensive history of New Orleans’s early years, tracing the town’s development from its origins in 1718 to its revolt against Spanish rule in 1768. Shannon Lee Dawdy’s picaresque account of New Orleans’s wild youth features a cast of strong-willed captives, thin-skinned nobles, sharp-tongued women, and carousing travelers. But she also widens her lens to reveal the port city’s global significance, examining its role in the French Empire and the Caribbean, and she concludes that by exemplifying a kind of rogue colonialism—where governments, outlaws, and capitalism become entwined—New Orleans should prompt us to reconsider our notions of how colonialism works. "[A] penetrating study of the colony's founding."—Nation “A brilliant and spirited reinterpretation of the emergence of French New Orleans. Dawdy leads us deep into the daily life of the city, and along the many paths that connected it to France, the North American interior, and the Greater Caribbean. A major contribution to our understanding of the history of the Americas and of the French Atlantic, the work is also a model of interdisciplinary research and analysis, skillfully bringing together archival research, archaeology, and literary analysis.”—Laurent Dubois, Duke University