If you’re attending the Association for Asian Studies Annual Conference in Toronto March 16-19, 2017, be sure to visit the University of Hawai’i Press at booth 600!
UH Press will have Asian studies books from our latest catalogs on display, as well as copies of the following journals:
We’re also proud to debut three online-only journals at AAS 2017:
Stop by and say hello as you browse through our display copies and catalogs. You may also pick up an order form at our booth or place your orders online at www.uhpress.hawaii.edu.
We look forward to seeing you in cold, snowy Toronto!
Posted in Asian Perspectives, Asian Theatre Journal, Azalea, Buddhist-Christian Studies, China Review International, Cross-Currents, Journal of Daoist Studies, Journal of Korean Religions, Journal of the Southeast Asian Linguistics Society, Korean Studies, Manoa, Philosophy East and West, Review of Japanese Culture and Society, Trans-Humanities, U.S-Japan Women's Journal, Uncategorized
Tagged AAS2017, Asian studies, University of Hawai'i Press
From this issue of Asian Theatre Journal. The betraying husband Bryan (Greg Brostrom) cowers before the spirit of his avenging wife while her ancestress Oiwa cradles the couple’s child in Carol Fisher Sorgenfrei’s Ghost Light: The Haunting. (Photo: Courtesy of Carol Fisher Sorgenfrei)
The spring 2017 issue of the Asian Theatre Journal includes the following works:
Wayang Kulit Kelantan: A Study of Characterization and Puppets
by Ghulam-Sarwar Yousof and Kheng-Kia Khor
Dramatizing Romance of the Three Kingdoms in Japanese Puppet Theatre: Zhuge Liang’s Military Talk on the Three Kingdoms
by Kai Xie
The Development of Indonesian Modern Theatre: Four Periods of Creativity from 1970 to 2015
by Benny Yohanes Timmerman
The Hilarity of Unhappiness in Oh Tae-suk’s Tempest: Cross-Cultural Access and Precolonial/Indigenous Aesthetics
by Kyounghye Kwon Continue reading
The yueju production of The Good Person of Jiangnan presents the Haipai culture style, with its elaborate costumes and magnificent sets and props. (Photo: Zhejiang Xiao Baihua Yueju Company)
The fall 2016 edition of the Asian Theatre Journal includes the following works:
Celebration of Life for James R. Brandon by Elizabeth Wichmann-Walczak
Asep Sunandar Sunarya: Dalang of Wayang Golek Sunda (1955–2014) by Arthur S. Nalan
Timizi nu in (The Bond of Water in Hands): An Early Modern Ryūkyūan Kumi Odori, as Staged by the National Theatre Okinawa by James Rhys Edwards and Nakazato Masao Continue reading
You and Me, directed by Zhang Yimou.
(Photo: Courtesy of the Chinese Committee of the Sixth Theatre Olympics)
The spring 2016 edition of the Asian Theatre Journal includes the following works:
The Cross Currents of Modern Theatre and China’s National Theatre Movement of 1925–1926 Siyuan Liu
The Eternal Thread: Gunsam Lee’s First Play in English
Wook-Dong Kim Continue reading
From the Editor, v
Special Issue Section: Women in Asian Theatre
Introduction: Women in Asian Theatre: Conceptual, Political, and Aesthetic Paradigms
Arya Madhavan, 345
A conference titled Women in Asian Theatre was held at the University of Lincoln in September 2013, and papers from that gathering form the core of this issue. The rationale in organizing the conference was to explore differences across Asia and note that theories from Western feminists do not necessarily transfer to Asian models. This conference was a first step toward mapping histories of the female in Asian theatre, and this is a line of inquiry that deserves more attention.
Lord Takadēra and entourage in Manzai Tichiuchi
From the Editor, iii
Manzai Tichiuchi (Vendetta of Performers of “Myriad-Year” Felicity): A Kumi Odori by Tasato Chōchoku, as Staged by Kin Ryōshō in 1982
Nobuko Miyama Ochner, 1
In addition to a translation of the play Manzai Tichiuchi, or Vendetta of Performers of “Myriad-Year” Felicity, this article gives background on this 1759 work by Tasato Chōchoku, the kumi odori genre in which he wrote, and the practice of the art, and the performance of this particular work in the Okinawan community in Hawai‘i.
The scholar Wang Shen (Huang Jun Cheng) is seduced by a nasty ghost disguised as a woman in Painted Face, a Cantonese opera scripted by Chua Soo Pong and performed by the Nanning Theatre Academy, China
Special Issue on Global Encounters in Southeast Asian Performing Arts
Guest Editor: Matthew Isaac Cohen with the assistance of Kirsten Brockman, Chua Soo Pong, Catherine Diamond, and William Peterson
From the Editor, iii
Introduction: Global Encounters in Southeast Asian Performing Arts
Matthew Isaac Cohen, 353
Long considered an isolated backwater of global cultural flows, a proud possessor of artistic traditions seemingly immune to international fashions, Southeast Asia is now coming into its own as a cultural powerhouse, refashioning old traditions and taking on new forms and ideas, with connections being rapidly formed between ASEAN member states in anticipation of the region’s Economic Community in 2015. This introduction positions this volume’s articles and the World Symposium on Global Encounters in Southeast Asian Performing Arts, where they were presented, in relation to the region’s cultural shifts. It argues that the critique and subversion of tradition is a sign of its vitality and future viability. A new paradigm is emerging in which Southeast Asian theatre and performance are not being treated as the West’s exotic “Other” or in relation to nation building but as a site drawing interested parties into a conversation regarding both local and global issues..