First published in 2001, Popular Religion in China: The Imperial Metaphor was written to bring together both the previously unpublished and published results of fieldwork in the People’s Republic of China and Taiwan and to put them into an historical, political, and theoretical context. The book presents Chinese popular religion as a distinctive institution and describes its content as an ‘imperial metaphor’. In doing so, it explores a wide range of topics, including both official and local cults, local festivals, Daoism, Ang Gong, the politics of religion, and political ritual.

It is a religion of the common people, but not 'of the people' in the sense of a national population's mass culture. It is popular in the sense of being local and true of the China of the Han, or Chinese-speaking people, where every place had or has its local cults and the festivals peculiar to them. The custom of local festivals and temples is not as well known as that of ancestor worship and clan and lineage, but Stephan Feuchtwang shows that it is as distinctive an institution. The Imperial Metaphor will be of great interest to anthropologists, historians, students of religious studies, and Chinese and China Studies, as well as the general reader.

For more than two hundred years, Americans have imagined and described Cuba and its relationship to the United States by conjuring up a variety of striking images--Cuba as a woman, a neighbor, a ripe fruit, a child learning to ride a bicycle. Louis A. Perez Jr. offers a revealing history of these metaphorical and depictive motifs and discovers the powerful motives behind such characterizations of the island as they have persisted and changed since the early nineteenth century. Drawing on texts and visual images produced by Americans ranging from government officials, policy makers, and journalists to travelers, tourists, poets, and lyricists, Perez argues that these charged and coded images of persuasion and mediation were in service to America's imperial impulses over Cuba.

All nations make themselves up as they go along, but not all make themselves up in the same way. In this study, Alon Confino explores how Germans turned national and argues that they imagined the nation as an extension of their local place. In 1871, the

This innovative book uses the lens of cultural history to examine the development of medicine in Qing dynasty China. Focusing on the specialty of "medicine for women"(fuke), Yi-Li Wu explores the material and ideological issues associated with childbearing in the late imperial period. She draws on a rich array of medical writings that circulated in seventeenth- to nineteenth-century China to analyze the points of convergence and contention that shaped people's views of women's reproductive diseases. These points of contention touched on fundamental issues: How different were women's bodies from men's? What drugs were best for promoting conception and preventing miscarriage? Was childbirth inherently dangerous? And who was best qualified to judge? Wu shows that late imperial medicine approached these questions with a new, positive perspective.

The debate about the Empire dealt in idealism and morality, and both sides employed the language of feeling, and frequently argued their case in dramatic terms. This book opposes two sides of the Empire, first, as it was presented to the public in Britain, and second, as it was experienced or imagined by its subjects abroad. British imperialism was nurtured by such upper middle-class institutions as the public schools, the wardrooms and officers' messes, and the conservative press. The attitudes of 1916 can best be recovered through a reconstruction of a poetics of popular imperialism. The case-study of Rhodesia demonstrates the almost instant application of myth and sign to a contemporary imperial crisis. Rudyard Kipling was acknowledged throughout the English-speaking world not only as a wonderful teller of stories but as the 'singer of Greater Britain', or, as 'the Laureate of Empire'. In the last two decades of the nineteenth century, the Empire gained a beachhead in the classroom, particularly in the coupling of geography and history. The Island Story underlined that stories of heroic soldiers and 'fights for the flag' were easier for teachers to present to children than lessons in morality, or abstractions about liberty and responsible government. The Education Act of 1870 had created a need for standard readers in schools; readers designed to teach boys and girls to be useful citizens. The Indian Mutiny was the supreme test of the imperial conscience, a measure of the morality of the 'master-nation'.

With the publication of Ritual Lament in Greek Tradition, widely considered a classic in Modern Greek studies and in collateral fields, Margaret Alexiou established herself as a major intellectual innovator on the interconnections among ancient, medieval, and modern Greek cultures. In her new, eagerly awaited book, Alexiou looks at how language defines the contours of myth and metaphor. Drawing on texts from the New Testament to the present day, Alexiou shows the diversity of the Greek language and its impact at crucial stages of its history on people who were not Greek. She then stipulates the relatedness of literary and "folk" genres, and assesses the importance of rituals and metaphors of the life cycle in shaping narrative forms and systems of imagery.Alexiou places special emphasis on Byzantine literary texts of the sixth and twelfth centuries, providing her own translations where necessary; modern poetry and prose of the nineteenth and twentieth centuries; and narrative songs and tales in the folk tradition, which she analyzes alongside songs of the life cycle. She devotes particular attention to two genres whose significance she thinks has been much underrated: the tales (paramythia) and the songs of love and marriage.In exploring the relationship between speech and ritual, Alexiou not only takes the Greek language into account but also invokes the neurological disorder of autism, drawing on clinical studies and her own experience as the mother of autistic identical twin sons.

Investigating the historical tradition of Chinese architectural writing from antiquity to the twelfth century, Chinese Architecture and Metaphor reveals significant and fascinating social and cultural phenomena in the most important primary text for the study of the Chinese building tradition. Unlike previous scholarship, which has reviewed this imperially commissioned architectural manual largely as a technical work, this volume considers the Yingzao fashi’s unique literary value and explores the rich cultural implications in and behind its technical content. Utilizing a philological approach, the author pays particular attention to the traditional and contemporary architectural terminology presented in the Yingzao fashi. In examining the semantic meaning of the architectural terms used in the manual, he uncovers a systematic architectural metaphor wherein bracketing elements are likened to flowers, flowering branches, and foliage: Thus pillars with bracketing above are compared to blossoming trees. More importantly, this intriguing imagery was shared by different social groups, in particular craftsmen and literati, and craftsmen themselves employed literary knowledge in naming architectural elements. Relating these phenomena to the unprecedented flourishing of literature, the literati’s greater admiration of technical knowledge, and the higher intellectual capacity of craftsmen during the Song, Architecture and Metaphor demonstrates how the learned and “unlearned” cultures entangled in the construction of architectural knowledge in premodern China. It convincingly shows that technical language served as a faithful carrier of contemporary popular culture and aesthetic concepts. Chinese Architecture and Metaphor demonstrates a high level of engagement with a broad spectrum of sophisticated Chinese sources. It will become a classic work for all students and scholars of East Asian architecture.

This volume presents ten visual essays that reflect on the historical, cultural and socio-political legacies of empires. Drawing on a variety of visual genres and forms, including photographs, illustrated advertisements, stills from site-specific art performances and films, and maps, the book illuminates the contours of empire’s social worlds and its political legacies through the visual essay. The guiding, titular metaphor, sharpening the haze, captures our commitment to frame empire from different vantage points, seeking focus within its plural modes of power. We contend that critical scholarship on empires would benefit from more creative attempts to reveal and confront empire. Broadly, the essays track a course from interrogations of imperial pasts to subversive reinscriptions of imperial images in the present, even as both projects inform each author’s intervention.

“This is a brilliant book that I believe will make a very valuable and original contribution to the way scholars understand the use of language in the era of the American Revolution and the origin and limited nature of Revolutionary era anti-slavery sentiment.” —Robert Olwell, author of Master, Slaves, and Subjects: The Culture of Power in the South Carolina Low Country, 1740–1790 In the American revolutionary era, the antislavery rhetoric of certain founding fathers often took on a life of its own. The distinctions they drew between the British imperial order and the bright dawn of liberty in a new American republic seemed, at times, to compel the freedom of the slaves as well as the freedom of white colonists. But Peter A. Dorsey shows that this rhetoric was often more strategic than principled, and he argues that understanding this ploy helps to explain why an early antislavery movement failed to achieve its goals once the American Revolution was over. In Common Bondage, Dorsey examines how patriots and those who opposed them understood slavery within a broader tradition of revolutionary thought. Especially prominent in the rhetoric and reality of the eighteenth century, this fluid concept was applied to a wide variety of events and values and was constantly being redefined. Dorsey explains the classical meaning of rhetoric as “to persuade” but notes that it can also mean “to mask” or “to mislead.” He shows how these different senses of the word merged, as revolutionary rhetoric was used to achieve limited ends. By examining the figurative extension of slavery in revolutionary rhetoric, Dorsey recaptures the transforming energy of the ideas it promoted and points toward a better understanding of the regressive aftermath. The resulting composite psychology of the slave-holding culture that existed during the country's formative years allows us to better trace the development of American racism. Peter A. Dorsey is the chair of the English Department at Mt. Saint Mary's University in Emmitsburg, Maryland. He is the author of Sacred Estrangement: The Rhetoric of Conversion in Modern American Autobiography.