Escape From Blood Pond Hell

These translations of The Precious Scroll of the Three Lives of Mulian and Woman Huang Recites the Diamond Sutra are late-nineteenth-century examples of baojuan (literally, "precious scrolls"), a Chinese folk genre featuring alternating verse and prose that was used by monks to illustrate religious precepts for lay listeners. They represent only two of numerous versions, composed in a variety of genres, of these legends, which were once popular all over China. While the seeds of the Mulian legend, in which a man rescues his mother from hell, can be found in Indian Buddhist texts, the story of Woman Huang, who seeks her own salvation, appears to be indigenous to China. With their graphic portrayals of the underworld; dramatization of Buddhist beliefs about death, salvation, and rebirth; and frank discussion of women's responsibility for sin, these texts provide detailed and powerful descriptions of popular religious beliefs and practices in late imperial China, especially as they relate to women.

Enchanted Revolution moves religion and gender to center stage in the Chinese Communist revolution, examining the mobilizational dynamics of anti-superstition propaganda in support of the Communist Party's rise from rural backwaters to national dominance. Xiaofei Kang argues that religion was not merely adversary for the revolutionaries-it also served as a model for the ways in which the Party mobilized support and constructed legitimacy. In this parallel and often paradoxical process, the Party attacked "superstitions" that had long supported the foundations of Chinese religious life. At the same time, Party propaganda co-opted these same religious resources for its own political ends. Kang demonstrates that the persuasive power of Party propaganda relied heavily on recasting the cosmic forces of yin and yang that sustained the traditional gender hierarchy and ritual order. Moreover, revolutionary art and literature revamped old narratives of female ghosts and ritual exorcism to inject the people with a new masculinist vision of the Party-state endowed with both scientific potency and the heavenly mandate. Gendered language and symbolism in Chinese religion thus remained central to inspiring pathos, ethos, and logos for the revolution. Enchanted Revolution sheds light on the contemporary significance of the Maoist legacy in China through a deft exploration of the complex interplay of religion, gender, and revolution.

Since the 1970s, tens of thousands of Vietnamese immigrants have settled in Louisiana, Florida, and other Gulf Coast states, rebuilding lives that were upended by the wars in Indochina. For many, their faith has been an essential source of community and hope. But how have their experiences as migrants influenced their religious practices and interpretations of Buddhist tenets? And how has organized religion shaped their understanding of what it means to be Vietnamese in the United States? This ethnographic study follows the monks and lay members of temples in the Gulf Coast region who practice Pure Land Buddhism, which is prevalent in East Asia but in the United States is less familiar than forms such as Zen. By treating the temple as a site to be made and remade, Vietnamese Americans have developed approaches that sometimes contradict fundamental Buddhist principles of nonattachment. This book considers the adaptation of Buddhist practices to fit American cultural contexts, from temple fundraising drives to the rebranding of the Vu Lan festival as Vietnamese Mother’s Day. It also reveals the vital role these faith communities have played in helping Vietnamese Americans navigate challenges from racial discrimination to Hurricane Katrina.

Research into the print culture of late-Qing and Republican China has revealed a vibrant world of print media. Recent studies have also shown that far from being marginalized, religion in modern China enjoyed widespread popularity and in many cases expanded its field of activity. This book explores how religious ideas and practices in modern China were transformed as a result of their engagement with modern print culture.

She was unknowingly carried onto the bridal sedan and forced to marry a thousand-year-old male demon. Since she had married, she didn't lack arms or legs. However, to be angry was to be angry was to be angry was to be stubborn to the point of being stubborn, always finding excuses, not doing chores, and also being fond of commanding people. She was furious, but she knew that even if she grew wings, she wouldn't be able to defeat the male demon. If she couldn't, she would be gentle. First, she would steal his heart, then she would steal his feelings.

The story of Mulian rescuing his mother’s soul from hell has evolved as a narrative over several centuries in China, especially in the baojuan (precious scrolls) genre. This genre, a prosimetric narrative in vernacular language, first appeared around the fourteenth century and endures as a living tradition. In exploring the evolution of the Mulian story, Rostislav Berezkin illuminates changes in the literary and religious characteristics of the genre. He also examines material from other forms of Chinese literature and from modern performances of baojuan, tracing their transformation from tools of Buddhist proselytizing to sectarian propaganda to folk ritualized storytelling. Ultimately, he reveals the special features of baojuan as a type of performance literature that had its foundations in multiple literary traditions.

In early modern China, Jesuit missionaries associated with the male elite of Confucian literati in order to proselytize more freely, but they had limited contact with women, whose ritual spaces were less accessible. Historians of Catholic evangelism have similarly directed their attention to the devotional practices of men, neglecting the interior spaces in Chinese households where women worshipped and undertook the transmission of Catholicism to family members and friends. Nadine Amsler’s investigation brings the domestic and devotional practices of women into sharp focus, uncovering a rich body of evidence that demonstrates how Chinese households functioned as sites of evangelization, religious conflict, and indigenization of Christianity. The resulting exploration of gendered realms in seventeenth-century China reveals networks of religious sociability and ritual communities among women as well as women’s remarkable acts of private piety. Amsler’s exhaustive archival research and attention to material culture reveals new insights about women’s agency and domestic activities, illuminating areas of Chinese and Catholic history that have remained obscure, if not entirely invisible, for far too long.

This book adopts a refreshing approach by examining Hokkien theatre in a region connected by maritime networks, notably southern Fujian, Taiwan, Kinmen and Singapore. It considers how regional theatre is shaped by broader socio-cultural and political contexts and the motivation to stay relevant in an era of modernisation and secularisation. Political domains are often marked out by land boundaries, but the sea concept denotes fluidity, allowing theatrical forms to spread across these ‘land-bounded’ societies and share a common language and culture. "This is an insightful theatrical study on the web of Chinese cultural networks in southern China and Singapore, and by extension, between China and Southeast Asia in the twentieth century and beyond. Using diverse sources in multiple languages and extensive field ethnography, this is a ground-breaking study which is both didactic and inspiring." - Lee Tong Soon, author of Chinese Street Opera in Singapore (University of Illinois, 2009). "Focusing on Hokkien theatre, this book offers new insights into how Chinese performing art responds to geographical, temporal, and social changes. Historical sources in different languages are widely used to give access to the cultural characteristics of Hokkien theatre, offering valuable ethnographic reports on the contemporary practices of Hokkien theatre in Taiwan, Kinmen, and Singapore. The book comments on the changing ritualistic significance of Hokkien theatre, and help us understand how societies remember the past of a performing tradition, and shape its present." - Luo Ai Mei, Co-Editor of A Preliminary Survey of the Cantonese Eight Song Cycles in South China: History and Sources (2016)