The Brigands’ Song is a unique testimony to the experiences of ordinary men – and women – during wartime in pre-modern China.

This collection brings together studies on vernacular manuscripts in regional Chinese dialects such as Cantonese and Hokkien (South Fujian dialect), those of non-Han peoples in China and Southeast Asia such as the Zhuang and Yao, and a vernacular character manuscript in Vietnamese. Across this wide range, the focus is on manuscripts written in regional and vernacular adaptations of the Chinese script. Three chapters on Yao manuscripts each focus on a different aspect of their use in local society or on collections of Yao manuscripts in overseas collections; there are three chapters on Zhuang and related Tai languages; two studies on Hokkien; one on the Cantonese script in contemporary Hong Kong; and one on a Buddhist manuscript with Vietnamese chữ nôm commentary from a temple in Bangkok. Detailed descriptions of traditional paper manufacture in the villages are given for both the Yao and the Zhuang, as well as paper analysis used to date a Vietnamese manuscript. Coverage includes information about the physicality of the manuscripts investigated and the vernacular Chinese scripts in which they are written, but also a wealth of information about their use and significance in local society. This collection will be of interest to scholars and students interested in the philological analysis of East and Southeast Asian character scripts and manuscript traditions, but also the broader social contexts of manuscript use in traditional and modern society.

This collection, presented to Michael Friedrich in honour of his academic career at of the Centre for the Study of Manuscript Cultures, traces key concepts that scholars associated with the Centre have developed and refined for the systematic study of manuscript cultures. At the same time, the contributions showcase the possibilities of expanding the traditional subject of ‘manuscripts’ to the larger perspective of ‘written artefacts’.

In Signifying the Local, Jin Liu examines contemporary cultural productions rendered in local languages and dialects (fangyan) in the fields of television, cinema, music, and literature in Mainland China. This ground-breaking interdisciplinary research provides an account of the ways in which local-language media have become a platform for the articulation of multivocal, complex, and marginal identities in post-socialist China. Viewed from the uniquely revealing perspective of local languages, the mediascape of China is no longer reducible to a unified, homogeneous, and coherent national culture, and thus renders any monolithic account of the Chinese language, Chineseness, and China impossible.

The war songs of the South are a part of the history of the Lost Cause. They are necessary to the impartial historian in forming a correct estimate of the animus of the Southern people. Emotional literature is always a correct exponent of public sentiment, and these songs index the passionate sincerity of the South at the time they were written. Poetic merit is not claimed for all of them; still each one embodies either a fact or a principle. Written in an era of war, when the public mind was thoroughly aroused, some may now appear harsh and vindictive. Eight millions of people read and sang them. This fact alone warrants their collection and preservation. A greater number of the songs have been gathered from Southern newspapers. The task has been laborious, but still a labor of love, as no work of this kind has before been offered to the public.

E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.