In this lucidly and gracefully written volume, Paula Varsano presents the first full-length study of Li Bo in English in half a century and the first extended look at the poet's critical reception."

Li Bo (701-762) has long inspired controversy among readers and critics. Known even during his lifetime as the "Banished Immortal," he continues to spark imaginations and challenge passionately held convictions about poetic values. In this lucid and gracefully written volume, Paula Varsano presents the first full-length study of Li Bo in English in half a century and the first extended look at the poet's critical reception. Persuaded that the essence of his poetry lay well beyond the reach of the usual modes of study and description, readers from the ninth to the twentieth century developed a particularly dynamic critical language. Varsano shows how this language, evolving out of the critical concepts of "emptiness" and "substance," answered the need to conceptualize shifting parameters of poetic creativity over hundreds of years. At the same time, she offers an account of Li Bo's entry into the canon and asks how this in turn transformed both the reception of his work and the transmission of his poetic persona. This story of Li Bo's critical reception and canonization is propelled by the malleable and elusive ideal of the "ancient." And so, Varsano devotes the second part of her study to the poems themselves, investigating those poetic manifestations of ancientness that translated into the enduring figure of the Banished Immortal.

The Tang dynasty is often called China’s “golden age,” a period of commercial, religious, and cultural connections from Korea and Japan to the Persian Gulf, and a time of unsurpassed literary creativity. Mark Lewis captures a dynamic era in which the empire reached its greatest geographical extent under Chinese rule, painting and ceramic arts flourished, women played a major role both as rulers and in the economy, and China produced its finest lyric poets in Wang Wei, Li Bo, and Du Fu. The Chinese engaged in extensive trade on sea and land. Merchants from Inner Asia settled in the capital, while Chinese entrepreneurs set off for the wider world, the beginning of a global diaspora. The emergence of an economically and culturally dominant south that was controlled from a northern capital set a pattern for the rest of Chinese imperial history. Poems celebrated the glories of the capital, meditated on individual loneliness in its midst, and described heroic young men and beautiful women who filled city streets and bars. Despite the romantic aura attached to the Tang, it was not a time of unending peace. In 756, General An Lushan led a revolt that shook the country to its core, weakening the government to such a degree that by the early tenth century, regional warlordism gripped many areas, heralding the decline of the Great Tang.

This collection consists of a selection of papers presented at the 2014 Uehiro Cross Currents Philosophy Conference, which focused on comparative philosophy, held at the University of Hawai’i in Mānoa. The annual student conference opens up opportunities for dialogue across cultures and traditions and challenges the status quo of academic philosophy’s focus on Western thought alone, as exhibited in this book. Doing so has both aesthetic and political implications. In one way, to the extent that comparative philosophy outlines new possibilities for how the world can be distributed—how things can be thought of in their spatiotemporal embodiments—it is involved in artistic practice, the development of an aesthetic, a way of making sense of the sensible. In another way, to the extent that it demonstrates the equality of marginalized voices in its distribution and redistribution of sensibility, comparative philosophy takes on a political dimension. The chapters within point to this politico-aesthetic aspect of comparative philosophy and, indeed, of philosophy in general.

In 1994, workers broke ground on China’s Three Gorges Dam. By its completion in 2012, the dam had transformed the ecology of the Yangzi River, displaced over a million people, and forever altered a landscape immortalized in centuries of literature and art. The controversial history of the dam is well known; what this book uncovers are its unexpected connections to the cultural traditions it seems to sever. By reconsidering the dam in relation to the aesthetic history of the Three Gorges region over more than two millennia, Fixing Landscape offers radically new ways of thinking about cultural and spatial production in contemporary China. Corey Byrnes argues that this monumental feat of engineering can only be understood by confronting its status as a techno-poetic act, a form of landscaping indebted to both the technical knowledge of engineers and to the poetic legacies of the Gorges as cultural site. Synthesizing methods drawn from premodern, modern, and contemporary Chinese studies, as well as from critical geography, art history, and the environmental humanities, Byrnes offers innovative readings of eighth-century poetry, paintings from the twelfth through twenty-first centuries, contemporary film, nineteenth-century British travelogues, and Chinese and Western maps, among other sources. Fixing Landscape shows that premodern poetry and visual art have something urgent to tell us about a contemporary experiment in spatial production. Poems and paintings may not build dams, but Byrnes argues that the Three Gorges Dam would not exist as we know it without them.

Did East Asian literatures, ranging from bronze inscriptions to zazen treatises, lack a concept of authorship before their integration into classical modernity? The answer depends on how one defines the term author. Starting out with a critical review of recent theories of authorship, this edited volume distinguishes various author functions, which can be distributed among several individuals and need not be integrated into a single source of textual meaning. Chinese, Japanese, and Korean literary traditions cover the whole spectrum from 'weak' composite to 'strong' individual forms and concepts of authorship. Divisions on this scale can be equated with gradual differences in the range of self-articulation. Contributors are Roland Altenburger, Alexander Beecroft, Marion Eggert, Simone Müller, Christian Schwermann, and Raji Steineck.