In Mountain, Water, Rock, God, Luke Whitmore situates the disastrous flooding that fell on the Hindu Himalayan shrine of Kedarnath in 2013 within a broader religious and ecological context. Whitmore explores the longer story of this powerful realm of the Hindu god Shiva through a holistic theoretical perspective that integrates phenomenological and systems-based approaches to the study of religion, pilgrimage, place, and ecology. He argues that close attention to places of religious significance offers a model for thinking through connections between ritual, narrative, climate destabilization, tourism, development, and disaster, and he shows how these critical components of human life in the twenty-first century intersect in the human experience of place.

“Mountain, Water, Rock, God is the first book-length scholarly treatment of Kedarnath, a pilgrimage destination of pan-Indian importance. Accessible and poetically evocative, the work is timely, at times wrenching, and the scholarship is superior, covering important ground across disciplines. No one is better situated to write this study than Luke Whitmore.” CORINNE DEMPSEY, Professor of Religious Studies and Director of Global Studies, Nazareth College

LUKE WHITMORE is Associate Professor of Religious Studies at the University of Wisconsin, Stevens Point.

Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

“This excellent book is based on abundant archival materials and Emily Wilcox’s practiced knowledge of dance. Its dramatic biographical data, clear conceptual design, and close readings of choreographic works make for engaging reading and engaged scholarship. An important contribution.” REBECCA KARL, Professor of History, New York University

“Tracing the rise of Chinese dance in the turbulent times of twentieth-century China, Wilcox has offered a brilliant account of the mutation of diverse dance forms. A productive blend of choreography, ethnography, performance, and cultural studies, this book not only fills the gaps in dance studies, but also addresses broad issues of interaction between China and the West, ancient forms and socialist agenda, and regional traditions and national culture.” BAN WANG, William Haas Professor in Chinese Studies, Stanford University

EMILY WILCOX is Assistant Professor of Modern Chinese Studies in the Department of Asian Languages and Cultures at the University of Michigan, Ann Arbor.

Rules of the House offers a dynamic revisionist account of the Japanese colonial rule of Korea (1910–1945) by examining the roles of women in the civil courts. Challenging the dominant view that women were victimized by the Japanese family laws and its patriarchal biases, Sungyun Lim argues that Korean women had to struggle equally against Korean patriarchal interests. Moreover, women were not passive victims; instead, they proactively struggled to expand their rights by participating in the Japanese colonial legal system. In turn, the Japanese doctrine of promoting progressive legal rights would prove advantageous to them. Following female plaintiffs and their civil disputes from the precolonial Chosŏn dynasty through the colonial period and into the postcolonial era, this book presents a new and groundbreaking story about Korean women’s legal struggles, revealing their surprising collaborative relationship with the colonial state.

“A timely and fascinating study, demonstrating the complex interplay between gender politics and empire building through the examination of the legal construction of the ideal modern family that was deeply implicated with the invention or appropriation of tradition. A major contribution to gender history, empire studies, and legal studies.” HYAEWEOL CHOI, author of Gender and Mission Encounters in Korea: New Women, Old Ways

“Challenges the conventional nationalist narrative of colonial Korea and restores agency to female plaintiffs and defendants. It should be read not only by those interested in colonial Korea and the Japanese empire, but also by historians of comparative and colonial law, the family, and gender.” SUSAN L. BURNS, Professor of History, University of Chicago

SUNGYUN LIM is Assistant Professor of Modern Korean and Japanese History at the University of Colorado Boulder.

When China’s War of Resistance against Japan began in July 1937, it sparked an immediate health crisis throughout China. In the end, China not only survived the war but emerged from the trauma with a more cohesive population. Intimate Communities argues that women who worked as military and civilian nurses, doctors, and midwives during this turbulent period built the national community, one relationship at a time. In a country with a majority illiterate, agricultural population that could not relate to urban elites’ conceptualization of nationalism, these women used their work of healing to create emotional bonds with soldiers and civilians from across the country. These bonds transcended the divides of social class, region, gender, and language.

“Nicole Elizabeth Barnes demonstrates remarkable insights into some of the most well-known figures in healthcare in wartime China—and introduces many previously unknown—providing pointed character analyses while also connecting individual experiences to larger sociopolitical trends across the tumultuous wartime landscape.” SONYA GRYPMA, PhD, RN, author of China Interrupted: Japanese Internment and the Reshaping of a Canadian Missionary Community

“Not only a major contribution to the histories of medicine, gender, emotion, and nationalism, but even more importantly, it opens up exciting horizons by making visible and exploring the surprising entanglements between them all.” SEAN HSIANG-LIN LEI, author of Neither Donkey nor Horse: Medicine in the Struggle over China’s Modernity

NICOLE ELIZABETH BARNES is Andrew W. Mellon Assistant Professor of History and Gender, Sexuality and Feminist Studies at Duke University.

In The Monastery Rules Berthe Jansen discusses the position of the monasteries in pre-modern Tibetan Buddhist societies and how that position was informed by the far-reaching relationship of monastic Buddhism with Tibetan society, economy, law, and culture. Jansen focuses her study on monastic guidelines or bca’ yig. The first study of its kind to examine the genre of bca’ yig in detail, the book contains an exploration of parallels of these texts in other Buddhist cultures, their connection to the Vinaya, and their value as sociohistorical source material. The monastic guidelines are witness to certain socioeconomic changes, but they also indicate that the monastery created rules intended to change the monastery in order to preserve it. Jansen argues that the monastic institutions’ influence on society was maintained not merely due to prevailing power-relations, but also because of certain deep-rooted Buddhist beliefs.

“The Monastery Rules provides an invaluable resource for those interested in a richer picture of traditional Tibet and its monastic life. This book will be an important scholarly resource.” GEORGES DREYFUS, Jackson Professor of Religion, Williams College, and author of The Sound of Two Hands Clapping

“This book provides a welcome and much needed contribution to our understanding of Tibetan monasticism. While monastic institutions have long been recognized as hubs of Buddhist life in Tibet, this study provides an extensive and granular exploration of pre-modern Tibetan monasteries as sites of community organization and integration, and as mediators of religious power.” ANDREW QUINTMAN, author of The Yogin and the Madman

BERTHE JANSEN is Professor of Central Asian Studies at the Institute for Indian and Central Asian Studies, Leipzig University.

David Atwill transports readers to the heart of the Himalayas as he traces the rise of the Tibetan Muslim community from the seventeenth century to the mid-twentieth century. Radically altering popular interpretations that have portrayed Tibet as isolated and monolithically Buddhist, Atwill’s vibrant account demonstrates how truly cosmopolitan Tibetan society was by highlighting the hybrid infl uences and internal diversity of Tibet. In its exploration of the Tibetan Muslim experience, Islamic Shangri-La presents an unparalleled perspective of Tibet’s standing during the rise of post–World War II Asia.

“Atwill’s groundbreaking book traces a forgotten Muslim thread through the knot of identity, subjecthood, and citizenship in twentieth-century Tibet, offering a fresh perspective on the region’s tumultuous modern history. It is a highly readable narrative of a Muslim community that has often been rendered invisible, and an important statement on the transition from empires to nation-states at the Inner Asian nexus of Tibet, China, India, and the Islamic world.” RIAN THUM, author of The Sacred Routes of Uyghur History

“The history of the Tibetan Muslims, which at fi rst may seem like yet another borderland oddity, actually provides a remarkable vantage point from which to survey Asian history anew. Not only does Atwill’s use of untapped archival sources and interviews produce original scholarship, but his innovative framing of the material provides valuable perspectives on a history we thought we knew quite well.” JOHAN ELVERSKOG, author of Buddhism and Islam on the Silk Road

DAVID G. ATWILL is Associate Professor of History at Penn State University where he teaches a broad range of courses on China, Tibet, and world history. His previous books include The Chinese Sultanate: Islam, Ethnicity, and the Panthay Rebellion in Southwestern China, 1856–1873 and Sources in Chinese History: Diverse Perspectivesfrom 1644 to the Present.

Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music.

“Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes

“Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts

“In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious

CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.

In the Arabic eleventh-century, scholars were intensely preoccupied with the way that language generated truth and beauty in the space between God and the poets. Alexander Key leads the reader through discussions of language, mind, and reality across multiple genres of scholarship in the work of four of the most famous Classical Arabic scholars. The littérateur ar-Rāġib al-Iṣfahānī, the theologian and legal theorist Ibn Fūrak, the philosopher Ibn Sīnā (known in the west as Avicenna), and the literary critic ʿAbd al-Qāhir al-Ǧurǧānī shared a conceptual vocabulary based on the words maʿnā and ḥaqīqah. They built theories that can be used today. We still want to understand how poetry works through syntax to create affect, and we are still interested in the problem of how language, mind, and reality interact. Language Between God and the Poets makes Classical Arabic solutions to these problems available for the first time in twenty-first-century English, and does so within a rigorous and original theoretical framework for the translation of theory.

“Alexander Key takes four major exponents of eleventh-century Arabic lexicography, theology, logic, and poetics and explores the interconnectedness of their thinking on ‘mental content’ and its various ‘accurate’ realizations. This book, brimming with philological insight, crackles with erudition.” JAMES E. MONTGOMERY, Professor of Arabic, University of Cambridge

“This is really an excellent book—well-written, engaging, intellectually exciting, and a great advance in the fi eld. The selection of four scholars, experts in different disciplines, but all talking about language and meaning, is extremely clever. The sophistication and nuance of the argument makes this a work of solid scholarship.” ROBERT GLEAVE, Professor of Arabic Studies, University of Exeter

ALEXANDER KEY is Assistant Professor of Arabic and Comparative Literature in the Division of Literatures, Cultures, and Languages at Stanford University.

The colonial experience of the early twentieth century shaped Korea’s culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

“A groundbreaking work that articulates a new methodology of theorizing and analyzing postcolonial cinema.” HYON JOO YOO, author of Cinema at the Crossroads: Nation and the Subject in East Asian Cinema

“Jinsoo An’s bold commitment to mining the layers and sometimes contradictions of individual films is remarkable. There is no more sustained and erudite examination of colonialism and film in Korea.” STEVEN CHUNG, author of Split Screen Korea: Shin Sang-ok and Postwar Cinema

JINSOO AN is Assistant Professor of Korean Studies in the Department of East Asian Languages and Cultures at the University of California, Berkeley.

Sounding Islam provides a provocative account of the sonic dimensions of religion, combining perspectives from the anthropology of media and sound studies, as well as drawing on neo-phenomenological approaches to atmospheres. Using long-term ethnographic research on devotional Islam in Mauritius, Patrick Eisenlohr explores how the voice, as a site of divine manifestation, becomes refracted in media practices that have become integral parts of religious traditions. At the core of Eisenlohr’s concern is the interplay of voice, media, affect, and listeners’ religious experiences. Sounding Islam sheds new light on a key dimension of religion, the sonic incitement of sensations that are often difficult to translate into language.

“Sounding Islam is both a pathbreaking contribution to the anthropological study of sound and media and a convincing engagement with core issues of religious transformation and experience. A sensitively written, insightful, and thought-provoking ethnographic account.” DON BRENNEIS, Distinguished Professor of Anthropology, University of California, Santa Cruz

“Eisenlohr’s marvelous Sounding Islam overcomes the dualism between discursive and materialist conceptualizations of voice through exploration of the ‘sonic atmosphere’ of Muslim devotional practice.” DOMINIC BOYER, Professor of Anthropology, Rice University

“Sounding Islam is a tour de force whose ethnographic sensitivity and analytic insights will reconfigure understandings of bodies, voices, mediatization, and religion. The book pinpoints questions that have intrigued scholars of Islam, linguistic anthropology, sound studies, semiotics, and the anthropology of media as it illuminates ways that bodies resonate with sounds that incite experiences of the divine.” CHARLES L. BRIGGS, coauthor of Making Health Public: How News Coverage Is Remaking Media, Medicine, and Contemporary Life

PATRICK EISENLOHR is Professor of Anthropology and Chair in Society and Culture in Modern India at the University of Göttingen. He is the author of Little India: Diaspora, Time, and Ethnolinguistic Belonging in Hindu Mauritius.