North Korea’s Kŭmgangsan is one of Asia’s most celebrated sacred mountain ranges, comparable in fame to Mount Tai in China and Mount Fuji in Japan. Carving Status at Kŭmgangsan marks a paradigm shift in the research about East Asian mountains by introducing an entirely new field: autographic rock graffiti. The book details how late Chosŏn (ca. 1600–1900 CE) Korean elite travelers used Kŭmgangsan to demonstrate their high social status by carving inscriptions, naming sites, and joining the literary pedigree of visitors to renowned locales. Such travel practices show how social competition emerged in the spatial context of a landscape. Hence, Carving Status at Kŭmgangsan argues for an expansion of accepted historical narratives on travel and mountain space in premodern East Asia. Rather than interpreting pilgrimage routes as exclusively religious or tourist, in Kŭmgangsan’s case they were also an important site of collective memory. Embarking on a journey to Kŭmgangsan to view and contribute to its sites of memory was an endeavor that late Chosŏn Koreans hoped to achieve in their lives. Based on multidisciplinary research drawing on literary writings, court records, gazetteers, maps, songs, calligraphy, and paintings, Carving Status at Kŭmgangsan is the first historical study of this practice. It will appeal to scholars in fields ranging from East Asian history, literature, and geography, to pilgrimage studies and art history.

For more than two hundred years after its establishment in 1392, the Chosŏn dynasty of Korea enjoyed generally peaceful and stable relations with neighboring Ming China, which dwarfed it in size, population, and power. This remarkably long period of sustained peace was not an inevitable consequence of Chinese cultural and political ascendancy. In this book, Sixiang Wang demonstrates how Chosŏn political actors strategically deployed cultural practices, values, and narratives to carve out a place for Korea within the Ming imperial order. Boundless Winds of Empire is a cultural history of diplomacy that traces Chosŏn’s rhetorical and ritual engagement with China. Chosŏn drew on classical Chinese paradigms of statecraft, political legitimacy, and cultural achievement. It also paid regular tribute to the Ming court, where its envoys composed paeans to Ming imperial glory. Wang argues these acts were not straightforward affirmations of Ming domination; instead, they concealed a subtle and sophisticated strategy of diplomatic and cultural negotiation. He shows how Korea’s rulers and diplomats inserted Chosŏn into the Ming Empire’s legitimating strategies and established Korea as a stakeholder in a shared imperial tradition. Boundless Winds of Empire recasts a critical period of Sino-Korean relations through the Korean perspective, emphasizing Korean agency in the making of East Asian international relations.

Welches Bild von China hatten japanische Künstler vom späten 17. Jahrhundert, als ihr Land sich gegen die Welt abschottete, bis zur Öffnung im Zuge der Modernisierung ab der Mitte des 19. Jahrhunderts? Der Band untersucht vorrangig Darstellungen in der japanischen Malerei vom späten 17. bis zum 20. Jahrhundert, die China als realen Ort ebenso wie als imaginäres gelobtes Land zeigen. In drei Essays renommierter japanischer Kunsthistoriker*innen und über fünfzig Katalogeinträgen zu außergewöhnlichen Werken werden die komplexen Reaktionen der Kunst Japans auf die chinesische Kunst, Geschichte und Kultur offenbar. Eine Handvoll wissenschaftlicher Studien hinterfragt in jüngerer Zeit das etablierte Narrativ, das moderne Japan habe sich allein am Westen orientiert. Diese verbreitete Vorstellung von einem ausschließlich westlich inspirierten heutigen Japan thematisiert "Imagined Neighbors". Mit einem nuancierteren Ansatz bemüht sich der Band, die schwierige Aussöhnung zwischen Alt und Neu im Zuge der Neuerfindung des modernen Nationalstaats Japan zu verstehen.

The poems in Plume are nuclear-age songs of innocence and experience set in the "empty" desert West. Award-winning poet Kathleen Flenniken grew up in Richland, Washington, at the height of the Cold War, next door to the Hanford Nuclear Reservation, where "every father I knew disappeared to fuel the bomb," and worked at Hanford herself as a civil engineer and hydrologist. By the late 1980s, declassified documents revealed decades of environmental contamination and deception at the plutonium production facility, contradicting a lifetime of official assurances to workers and their families that their community was and always had been safe. At the same time, her childhood friend Carolyn's own father was dying of radiation-induced illness: "blood cells began to err one moment efficient the next / a few gone wrong stunned by exposure to radiation / as [he] milled uranium into slugs or swabbed down / train cars or reported to B Reactor for a quick run-in / run-out." Plume, written twenty years later, traces this American betrayal and explores the human capacity to hold truth at bay when it threatens one's fundamental identity. Flenniken observes her own resistance to facts: "one box contains my childhood / the other contains his death / if one is true / how can the other be true?" The book's personal story and its historical one converge with enriching interplay and wide technical variety, introducing characters that range from Carolyn and her father to Italian physicist Enrico Fermi and Manhattan Project health physicist Herbert Parker. As a child of "Atomic City," Kathleen Flenniken brings to this tragedy the knowing perspective of an insider coupled with the art of a precise, unflinching, gifted poet. Watch the book trailer: https://www.youtube.com/watch?v=3iSaR9mfeeM

This volume juxtaposes for the first time two striking bodies of work by Delhi-based and internationally recognized contemporary artist Vivan Sundaram. Gagawaka, the first project, consists of twenty-seven sculptural garments made from a bizarre assortment of recycled materials including foam cups, surgical masks, tire tubes, tampons, X-ray film, bandages, bras, foil pill wrappers, and drain pipes. These garments evoke a relationship both playful and subversive to fashion, haute couture, the runway, and the brand. The second project, Postmortem, is a collection of haunting sculptural objects composedof mannequins, tailor's dummies, wooden props, and models of human organs and bones. Postmortem questions the spectacle of Gagawaka with a wider set ofcommentaries about the human body and social concerns related to aging, illness, and death.

Lonely Planet's Korea is our most comprehensive guide that extensively covers all the country has to offer, with recommendations for both popular and lesser-known experiences. Marvel at the volcanic landscape of Jeju-do, wonder at the exquisite Changdeokgung palace, and get dirty at the Boryeong Mud Festival; all with your trusted travel companion. Inside Lonely Planet's Korea Travel Guide: Lonely Planet's Top Picks - a visually inspiring collection of the destination's best experiences and where to have them Itineraries help you build the ultimate trip based on your personal needs and interests Local insights give you a richer, more rewarding travel experience - whether it's history, people, music, landscapes, wildlife, politics Eating and drinking - get the most out of your gastronomic experience as we reveal the regional dishes and drinks you have to try Toolkit - all of the planning tools for solo travellers, LGBTQIA+ travellers, family travellers and accessible travel Colour maps and images throughout Language - essential phrases and language tips Insider tips to save time and money and get around like a local, avoiding crowds and trouble spots Covers Seoul, Incheon, Jeju-do, Gyeonggi-do, Gangwon-do, Cheongju, Gyeongsangbuk-do, Sokcho, Samcheok, Chungju, Daejeon, Gongju, Daegu, North Korea, Pyongyang, Panmunjom, the DMZ, and more About Lonely Planet: Lonely Planet, a Red Ventures Company, is the world's number one travel guidebook brand. Providing both inspiring and trustworthy information for every kind of traveller since 1973, Lonely Planet reaches hundreds of millions of travellers each year online and in print and helps them unlock amazing experiences. Visit us at lonelyplanet.com and join our community of followers on Facebook (facebook.com/lonelyplanet), Twitter (@lonelyplanet), Instagram (instagram.com/lonelyplanet), and TikTok (@lonelyplanet). 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' Fairfax Media (Australia)

Publisher Description

"Book describes the difficult but determined existence that North Koreans have created for themselves in the face of oppression. The book introduces the political system and the extent to which it permeates citizens' daily lives; discusses the schools, the economic system, and family life; treats the changes that have taken place in North Korea over the last decade"--Provided by publisher.

Early China is best known for the dazzling material artifacts it has left behind. These terracotta figures, gilt-bronze lamps, and other material remnants of the Chinese past unearthed by archaeological excavations are often viewed without regard to the social context of their creation, yet they were made by individuals who contributed greatly to the foundations of early Chinese culture. With Artisans in Early Imperial China, Anthony Barbieri-Low combines historical, epigraphic, and archaeological analysis to refocus our gaze from the glittering objects and monuments of China onto the men and women who made them. Taking readers inside the private workshops, crowded marketplaces, and great palaces, temples, and tombs of early China, Barbieri-Low explores the lives and working conditions of artisans, meticulously documenting their role in early Chinese society and the economy. First published in 2007, winner of top prizes from the Association for Asian Studies, American Historical Association, College Art Association, and the International Convention of Asia Scholars, and now back in print, Artisans in Early Imperial China will appeal to anyone interested in Chinese history, as well as to scholars of comparative social history, labor history, and Asian art history.