Countervisions

In a moment in our history beset with grave doubts, Erik H. Erickson inquires into the nature and structure of the shared visions which invigorate some eras and seemed so fatefully lacking in others. He illustrates the human propensity for play and vision, from the toy world of childhood to the dream life of adults, and from the artist's imagination to the scientist's reason. Finally, he enlarges on the origins and structure of one shared vision of universal significance, namely, the American Dream. Such a worldview, he concludes, consists of both vision and counter vision (political and religious, economic and technological, artistic and scientific) which vie with each other to give a coherent meaning to shared realities and to liberate individual and communal energy. Erickson postulates that a space-time orientation provided by a viable worldview is, complimentary to the inner work of the individual psyche and is attuned to its multiple functions. In a central chapter, the author links the phylogeny and the ontogeny of worldviews by describing stages in the ritualization of everyday life—that is, the interplay of customs (including the use of language) with from birth to death convey and confirm the "logic" of the visions predominant or contending in a society. He emphasizes the playful and yet compelling power of viable ritualization to connect individual growth with the maintenance of a vital institutions; but he also illustrates the fateful tendency of human interplay to turn into self-deception and collusion, of ritualization to become deadly ritualism—and of visions to end in nightmares of alienation and distraction. Erickson advocates the pooling of interdisciplinary insights in order to clarify the conscious and unconscious motivation which works for or against the more universal and more insightful worldview essential in a technological age.

"Conversations is a landmark series in photography, featuring extensive interviews by major international critics with living masters on aesthetics, craft, and culture. The book traces the heritage of the medium in fascinating, informal discourses on topics ranging from the personal to the political, covering intimate detail and theoretical background alike. Complete with biographies, bibliographies, and self-portraits of each featured artist, it is both a vital record of contemporary photography and an engaging read."--BOOK JACKET.

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.

Throughout the twentieth century, American filmmakers have embraced cinematic representations of China. Beginning with D.W. Griffith’s silent classic Broken Blossoms (1919) and ending with the computer-animated Kung Fu Panda (2008), this book explores China’s changing role in the American imagination. Taking viewers into zones that frequently resist logical expression or more orthodox historical investigation, the films suggest the welter of intense and conflicting impulses that have surrounded China. They make clear that China has often served as the very embodiment of “otherness”—a kind of yardstick or cloudy mirror of America itself. It is a mirror that reflects not only how Americans see the racial “other” but also a larger landscape of racial, sexual, and political perceptions that touch on the ways in which the nation envisions itself and its role in the world. In the United States, the exceptional emotional charge that imbues images of China has tended to swing violently from positive to negative and back again: China has been loved and—as is generally the case today—feared. Using film to trace these dramatic fluctuations, author Naomi Greene relates them to the larger arc of historical and political change. Suggesting that filmic images both reflect and fuel broader social and cultural impulses, she argues that they reveal a constant tension or dialectic between the “self” and the “other.” Significantly, with the important exception of films made by Chinese or Chinese American directors, the Chinese other is almost invariably portrayed in terms of the American self. Placed in a broader context, this ethnocentrism is related both to an ever-present sense of American exceptionalism and to a Manichean world view that perceives other countries as friends or enemies. Greene analyzes a series of influential films, including classics like Shanghai Express (1932), The Bitter Tea of General Yen (1933), The Good Earth (1936), and Shanghai Gesture (1941); important cold war films such as The Manchurian Candidate (1962) and The Sand Pebbles (1966); and a range of contemporary films, including Chan is Missing (1982), The Wedding Banquet (1993), Kundun (1997), Mulan (1998), and Shanghai Noon (2000). Her consideration makes clear that while many stereotypes and racist images of the past have been largely banished from the screen, the political, cultural, and social impulses they embodied are still alive and well.

Critical legal studies is the most important development in progressive thinking about law of the past half century. It has inspired the practice of legal analysis as institutional imagination, exploring, with the materials of the law, alternatives for society. The Critical Legal Studies Movement was written as the manifesto of the movement by its central figure. This new edition includes a revised version of the original text, preceded by an extended essay in which its author discusses what is happening now and what should happen next in legal thought.

As Malaysia’s economy grows and flourishes, strong new links are being forged with other developing countries in the region and beyond. This book traces the ways in which age-old organizational, political, religious and trade networks between Nusantara, the Malay World, and Central Asia, East Africa and the Middle East have changed in recent years. The book argues that these old links are being revived by new forms of globalization, modernization and knowledge transfer that are developing and implementing non-western models of governance, often in direct reference to Islam. The book goes on to explain how, as Malaysia develops new links with Indian Ocean countries, many of them Muslim countries, a new style trading network is being formed, a network with Islamic characteristics, which echoes Indian Ocean Islamic trading networks of earlier times. Interspersed with interesting methodological insights into the latest network, transnational and spatial theories, the book provides detailed case studies of Malaysia’s and Southeast Asia’s trade and numerous other links with Indonesia, Egypt, Zanzibar, Comoros and Central Asia, and concludes by assessing how Malaysia’s and ASEAN’s new style network is likely to develop and influence wider global networks. Written with a depth of knowledge reflective of the author’s many years of research throughout Asia, this book gives a real insight into how Malaysia’s mentalities, traditions and ways of thinking are being applied to its interactions with its immediate neighbours and the wider world.

In today's confused and confusing world, it is good to be shown once more that God is never absent. That is the heartening message of 'Ichabod toward Home'. In this volume one of today's most respected biblical scholars explores the nature of God's glory, using the engaging story of the ark of the covenant to illuminate the meaning of God's presence - not only for the ancient Israelites but for the whole world. Offering a unique entry into Old Testament theology, Walter Brueggemann examines 1 Samuel 4-6, the biblical text in which the ark of God is captured by the Philistines, seen to be a dangerous threat, and finally returned to Israel. In looking anew at what this story reveals about God's glory - or kabod, from which the name Ichabod derives - Brueggemann builds a powerful new theology of God's sovereignty. Additionally, Brueggemann demonstrates that this ancient story of the ark has profound relevance today. The three-day story of the ark's capture, detention, and return is transposed, first, into the three-day Christian story of Easter and, second, into the three days of the modern consumer weekend. In a provocative contemporary application of Old Testament theology, Brueggemann shows that the Ark narrative, in its rendering of God's glory, strongly contradicts the dominant narrative of our own culture, with its strident emphasis on self-indulgence, narcissism, and self-sufficiency.