The Shaman And The Heresiarch

The first book-length study in English of the Chinese classic, the Li sao (Encountering Sorrow). Includes translations of the Li sao and the Nine Songs. The Li sao (also known as Encountering Sorrow), attributed to the poet-statesman Qu Yuan (4th3rd century BCE), is one of the cornerstones of the Chinese poetic tradition. It has long been studied as Chinas first extended allegory in poetic form, yet most scholars agree that there is very little in the two-thousand-year-old tradition of commentary on it that convincingly explains its supernatural flights, its complex floral imagery, or the gender ambiguity of its primary poetic persona. The Shaman and the Heresiarch is the first book-length study of the Li sao in English, offering new translations of both the Li sao and the Nine Songs. The book traces the shortcomings of the earliest extant commentary on those texts, that of Wang Yi, back to the quasi-divinatory methods of the highly politicized tradition of Chinese classical hermeneutics in general, and the political machinations of a Han dynasty empress dowager in particular. It also offers an entirely new interpretation of the Li sao, one based not on Qu Yuan hagiography but on what late Warring States period artifacts and texts, including recently unearthed texts, teach us about the cultural context that produced the poem. In that light we see in the Li sao not only a reflection of the era of the great classical Chinese philosophers, but also the breakdown of the political-religious order of the ancient state of Chu.

The Li sao (also known as Encountering Sorrow), attributed to the poet-statesman Qu Yuan (4th–3rd century BCE), is one of the cornerstones of the Chinese poetic tradition. It has long been studied as China's first extended allegory in poetic form, yet most scholars agree that there is very little in the two-thousand-year-old tradition of commentary on it that convincingly explains its supernatural flights, its complex floral imagery, or the gender ambiguity of its primary poetic persona. The Shaman and the Heresiarch is the first book-length study of the Li sao in English, offering new translations of both the Li sao and the Nine Songs. The book traces the shortcomings of the earliest extant commentary on those texts, that of Wang Yi, back to the quasi-divinatory methods of the highly politicized tradition of Chinese classical hermeneutics in general, and the political machinations of a Han dynasty empress dowager in particular. It also offers an entirely new interpretation of the Li sao, one based not on Qu Yuan hagiography but on what late Warring States period artifacts and texts, including recently unearthed texts, teach us about the cultural context that produced the poem. In that light we see in the Li sao not only a reflection of the era of the great classical Chinese philosophers, but also the breakdown of the political-religious order of the ancient state of Chu.

From the beautiful apsaras of Hindu myth to the swan maidens of European fairy tales, tales of flying women - some carried by wings, others by rainbows, floating scarves, or flying horses - reveal both fascination with and ambivalence about female power and sexuality. In Women Who Fly,Serinity Young examines the motif of the flying woman as it appears in a wide variety of cultures and historical periods, expressed in legends, myths, rituals, sacred narratives, and artistic productions. She introduces a wide range of such figures, including supernatural women like the Valkyries ofNorse legend, who transport men to immortality; winged deities like the Greek goddesses Iris and Nike; figures of terror like the Furies, witches, and succubi, airborne Christian mystics, and wayward women like Lilith and Morgan le Fay. Looking beyond the supernatural, Young examines theextraordinary mythology surrounding twentieth-century female aviators like Amelia Earhart and Hanna Reitsch.Throughout, the book Young traces the inextricable link between female power and sexuality and the male desire to control it. This is most vividly portrayed in the twelfth-century Niebelungenlied, in which the proud warrior-queen Brunnhilde loses her great physical strength when she is tricked intogiving up her virginity. Centuries earlier the theme is seen in Euripides' play Medea, in which the title character - enraged by her husband's intention to marry a younger woman - uses her divine powers in revenge, wreaking chaos and destruction around her. It is a theme that remains tangible evenin the twentieth-century exploits of the comic book character Wonder Woman who, Young argues, retains her physical strength only because her love for fellow aviator Steve Trevor goes unrequited.The first book to systematically chronicle the figure of the flying woman in myth, literature, art, and pop culture, Women Who Fly is an exciting, fresh look at the ways in which women have both influenced and been understood by society and religious traditions around the world.

This study blends together ethical philosophy, neurocognitive-evolutionary studies, and literary theory to explore how imaginative discourse addresses a distinctively human deep sociality, and by doing so helps shape cultural and literary history. Deep sociality, arising from an improbable evolutionary history, both entwines and leaves non-reconciled what is felt to be significant for us and what ethical sense seems to call us to acknowledge as significant, independent of ourselves. Ethical Sense and Literary Significance connects literary and cultural history without reducing the literary to a mere expression of something else. It argues that affective differences between non-egocentric and egocentric registers of significance are integral to the bioculturally evolved deep sociality that verbal art addresses—often in unsettling and socially critical ways. Much imaginative discourse, in early societies as well as recent ones, brings ethical sense and literary significance together in ways that reveal their intricate but non-harmonized internal entwinement. Drawing on contemporary scholarship in the humanities and sciences, Donald R. Wehrs explores the implications of interdisciplinary approaches to topics central to a wide range of fields beyond literary studies, including neuroscience, anthropology, phenomenological philosophy, comparative history, and social psychology.

China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names of foreign tribes were traditionally written with characters that included animal radicals. In modern times, the communist government frequently referred to Nationalists as “running dogs,” and President Xi Jinping, vowing to quell corruption at all levels, pledged to capture both “the tigers” and “the flies.” Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present. In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping—these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture. The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric. Contributors: Sarah Allan, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, Jerome Silbergeld, Henrik Sørensen, and Eugene Y. Wang.

This volume is distinctive for its extraordinarily interdisciplinary investigations into a little discussed topic, the spatial imagination. It probes the exercise of the spatial imagination in pre-modern China across five general areas: pictorial representation, literary description, cartographic mappings, and the intertwining of heavenly and earthly space. It recommends that the spatial imagination in the pre-modern world cannot adequately be captured using a linear, militarily framed conceptualization. The scope and varying perspectives on the spatial imagination analyzed in the volume’s essays reveal a complex range of aspects that informs how space was designed and utilized. Due to the complexity and advanced scholarly level of the papers, the primary readership will be other scholars and advanced graduate students in history, history of science, geography, art history, religious studies, literature, and, broadly, sinology.

What do dice and gods have in common? What is the relationship between dice divination and dice gambling? This interdisciplinary collaboration situates the tenth-century Chinese Buddhist “Divination of Maheśvara” within a deep Chinese backstory of divination with dice and numbers going back to at least the 4th century BCE. Simultaneously, the authors track this specific method of dice divination across the Silk Road and into ancient India through a detailed study of the material culture, poetics, and ritual processes of dice divination in Chinese, Tibetan, and Indian contexts. The result is an extended meditation on the unpredictable movements of gods, dice, divination books, and divination users across the various languages, cultures, and religions of the Silk Road.