"Through the biography of Frederick John Horniman (1835-1906), a Victorian traveller, collector, and Museum founder, this work critically reconstructs and explores the dynamic cultural network of individuals and institutions; touristic and collecting practices; textual and exhibitionary media, which interacted and generated images of the exotic Orient. Starting in the leafy suburbs of south London, this study begins by examining the afterlife of the world renowned Crystal Palace, which had housed the world's first Great Exhibition. Following its move from Hyde Park to Sydenham in the mid-1850s, this immense glass structure soon became a popular tourist destination, attracting more than a million visitors every year and transforming its once isolated rural surrounds into fashionable residential areas. Levell specifically focuses on the powerful, though selective, representations of the distant Orient at the People's Palace, which enchanted Victorian sightseers, artists, collectors, and travellers. She then looks in detail at the spectacular displays of the British Empire's 'Eastern Possessions' at the hugely popular Colonial and Indian Exhibition of 1886 in South Kensington. Together these two exhibitionary complexes, with their visually striking images of the Orient, guided Frederick Horniman's travels and also influenced the type of material that he acquired for his private Museum, which was located in Forest Hill, a short distance from the Crystal Palace. From exhibitions and collections, this monograph then moves on to explore travel and collecting. Drawing on the journal that Frederick Horniman kept during his world tours, a fascinating and richly illustrated account is given of the Victorian tourist's travels in India, Ceylon (Sri Lanka), Japan, China, Burma (Union of Myanmar), and Egypt, describing the places he visited, the peoples he encountered, and the objects he collected. Finally, attention is turned to the extensive oriental collections, which were assembled by Horniman over a forty-year period, and placed on public display in his twenty-four room Museum. In their museal setting, these exhibits, which had been acquired from dealers, auction houses, international exhibitions, missionaries, travellers, and colonial officials, both at home and abroad, conjured up striking and alluring visions of the Orient." -- Provided by publisher.

The Confucian doctrine of tianxia (all under heaven) outlines a unitary worldview that cherishes global justice and transcends social, geographic, and political divides. For contemporary scholars, it has held myriad meanings, from the articulation of a cultural imaginary and political strategy to a moralistic commitment and a cosmological vision. The contributors to Chinese Visions of World Order examine the evolution of tianxia's meaning and practice in the Han dynasty and its mutations in modern times. They attend to its varied interpretations, its relation to realpolitik, and its revival in twenty-first-century China. They also investigate tianxia's birth in antiquity and its role in empire building, invoke its cultural universalism as a new global imagination for the contemporary world, analyze its resonance and affinity with cosmopolitanism in East-West cultural relations, discover its persistence in China's socialist internationalism and third world agenda, and critique its deployment as an official state ideology. In so doing, they demonstrate how China draws on its past to further its own alternative vision of the current international system. Contributors. Daniel A. Bell, Chishen Chang, Kuan-Hsing Chen, Prasenjit Duara, Hsieh Mei-yu, Haiyan Lee, Mark Edward Lewis, Lin Chun, Viren Murthy, Lisa Rofel, Ban Wang, Wang Hui, Yiqun Zhou

Best known as the story from the 1904 Puccini opera, the compelling modern myth of Madame Butterfly has been read, watched, and re-interpreted for many years. This volume examines the Madame Butterfly narrative in a variety of cultural contexts - literary, musical, theatrical, cinematic, historical, and political.

Chinese Visions of Progress, 1895 to 1949 offers a panoramic study of Chinese reflections on “progress,” its multifaceted expressions, contesting interpretations, highly optimistic implications, but also the criticism it encountered.

This second edition considers how the 'global war on terror' has changed the way the West views the Islamic world.

Spotlighting Asian Americans on both sides of the motion picture camera, Countervisions examines the aesthetics, material circumstances, and politics of a broad spectrum of films released in the last thirty years. This anthology focuses in particular on the growing presence of Asian Americans as makers of independent films and cross-over successes. Essays of film criticism and interviews with film makers emphasize matters of cultural agency--that is, the practices through which Asian American actors, directors, and audience members have shaped their own cinematic images. One of the anthology's key contributions is to trace the evolution of Asian American independent film practice over thirty years. Essays on the Japanese American internment and historical memory, essays on films by women and queer artists, and the reflections of individual film makers discuss independent productions as subverting or opposing the conventions of commercial cinema. But Countervisions also resists simplistic readings of "mainstream" film representations of Asian Americans and enumerations of negative images. Writing about Hollywood stars Anna May Wong and Nancy Kwan, director Wayne Wang, and erotic films, several contributors probe into the complex and ambivalent responses of Asian American audiences to stereotypical roles and commerical success. Taken together, the spirited, illuminating essays in this collection offer an unprecedented examination of a flourishing cultural production. Author note: Darrell Y. Hamamoto is Associate Professor in the Asian American Studies Program at the University of California, Davis. He is the author of Nervous Laughter: Television Situation Comedy and Liberal Democratic Ideology, Monitored Peril: Asian Americans and the Poltics of Television Representation, and New American Destinies: a Reader in Contemporary Asian and Latino Immigration. Sandra Liu is a Ph.D. candidate in the Department of Ethnic Studies, University of California, Berkeley.

Essays on orientalism in American and European cinema