This is a two-volume collection of original research papers designed to reflect the breadth and depth of the impact that William Labov has had on linguistic science. Four areas of 'Labovian' linguistics are addressed: First is the study of variation and change; the papers in sections I and II of the first volume take this as their central theme, with a focus on either the social context and uses of language (I) or on the the internal linguistic dynamics of variation and change (II). The study of African American English, and other language varieties in the Americas spoken by people of African descent and influenced by their linguistic heritage, is the subject of the papers in section III of the first volume. The third theme is the study of discourse; the papers in section I of the second volume develop themes in Labovian linguistics that go back to Labov's work on narrative, descriptive, and therapeutic discourse. Fourth is the emphasis on language use, the search for discursive, interactive, and meaningful determinants of the complexity in human communication. Papers with these themes appear in section II of the second volume.

This is a two-volume collection of original research papers designed to reflect the breadth and depth of the impact that William Labov has had on linguistic science. Four areas of 'Labovian' linguistics are addressed: First is the study of variation and change; the papers in sections I and II of the first volume take this as their central theme, with a focus on either the social context and uses of language (I) or on the the internal linguistic dynamics of variation and change (II). The study of African American English, and other language varieties in the Americas spoken by people of African descent and influenced by their linguistic heritage, is the subject of the papers in section III of the first volume. The third theme is the study of discourse; the papers in section I of the second volume develop themes in Labovian linguistics that go back to Labov's work on narrative, descriptive, and therapeutic discourse. Fourth is the emphasis on language use, the search for discursive, interactive, and meaningful determinants of the complexity in human communication. Papers with these themes appear in section II of the second volume.

The complex notion of "rasa," as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics? In this first book on the subject, Rasa provides an entry into Javanese music as it is conceived by the people who know the tradition best: the musicians themselves. In one of the most thorough explorations of local aesthetics to date, author Marc Benamou argues that musical meaning is above all connotative - hence, not only learned, but learnable. Following several years performing and researching Javanese music in the regional and national cultural center of Solo, Indonesia, Benamou untangles the many meanings of rasa as an aesthetic criterion in Javanese music, particularly in court and court-derived gamelan traditions. While acknowledging that certain universal psychological tendencies may inspire parallel interpretations of musical meaning, Rasa demonstrates just how culturally specific such accrued, shared meanings can be.

In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.

Indonesian court dance is famed for its sublime calm and stillness, yet this peaceful surface conceals a time of political repression and mass killing. Rachmi Diyah Larasati reflects on her own experiences as an Indonesian national troupe dancer from a family of persecuted female dancers and activists, examining the relationship between female dancers and the Indonesian state since 1965.