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Taiki Raito Pym: Tsundoku

Tsundoku

The Art of Collecting Books

Bollingen Series

The Collected Essays of Erich Neumann, Volume 1

Art and the Creative Unconscious

Meet the epic fantasy debut of the year

The Poet Empress

A much needed, inspiring collection of poems both old and new written by queer poets.

A much needed, inspiring collection of poems both old and new written by queer poets.

An Anthology of Queer Poems

He, She, They, Us

The Routledge Companion to Contemporary Art Histories and Globalisation

The Times Su Doku

200 Challenging Su Doku Puzzles

The Times Fiendish Su Doku Book 19

SOAS Studies in Music

With the abrogation of the Zen Buddhist Fuke sect during Japan's modernisation process in the late nineteenth century, the raison d'être for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and 'improved' has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be 'the real thing' as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players. In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

With the abrogation of the Zen Buddhist Fuke sect during Japan’s modernisation process in the late nineteenth century, the raison d’Ãªtre for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and ’improved’ has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be ’the real thing’ as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players.  In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

The Instrument Today and the Creation of a Contemporary Repertoire

The Jinashi Shakuhachi

There are very few sociology textbooks that attempt to provide a general introduction for students to modern Asia. Within the framework of the comparative sociology of Asian societies, this volume explores key issues in culture and social structure. In cultural terms, it considers religion, nationalism and popular culture. With regard to social structure, there is an emphasis on gender, the family, social class and ethnicity. This comparative study also examines major aspects of social change relating to contemporary globalization.

This textbook provides an ambitious overview of Asia from the perspective of the comparative sociology of culture and social structure. Starting with the history of colonialism and empire, the study examines major dimensions of modern social change from population and migration, the growth of nationalism and communism, and the development of religions, both popular and official. This sociological approach considers the major structural dimensions of Asian societies in terms of gender, sexuality and the family, social class, ethnicity and inequality, and democracy and citizenship. The empirical examples are taken from north and east Asia (China, Vietnam,South Korea and Japan) and from Southeast Asia (Malaysia, Singapore and Indonesia). There are passing references to South Asia, Thailand and the Philippines.Its coherence is provided by a macro-sociological perspective (a modern interpretation of the sociology of Max Weber). The special features of the volume are: a consistent focus on the effects of globalization; attention to the modern legacy of religious traditions (Confucianism, Buddhism, Christianity and popular religion); an awareness of the importance of gender, family and reproduction; and finally concluding chapters examining democracy, human rights and citizenship.

Asian Societies: An introduction

Joss Marsh's stirring book traces the international phenomenon that is cinema's Dickens obsession, from its origins in Dickens's celebrity, through Dickens impact on the pioneers, first masters, and later innovators of the cinema and his enmeshment in the complex of technologies and cultural formations that made up the world of late-Victorian fantasy - from the photograph to the magic lantern, from celebrity to time travel.

As Joss Marsh observes in her stirring book on Dickens and cinema, Dickens was the first mass-mediated photographic celebrity of the modern era, more intimately "familiar" than any person in Britain besides the royal family. Suggesting Dickens's celebrity, as much as his work, contributed to the international phenomenon that is cinema's Dickens obsession, Marsh begins with  J. J. E. Mayall's famous celebrity portraits to trace Dickens's impact on the pioneers, first masters, and later innovators of the cinema. At the same time, Marsh uncovers a larger issue: to understand Dickens's place in cinema is to understand his enmeshment in the whole complex of technologies and cultural formations that made up the world of late-Victorian fantasy-from the photograph to the magic lantern, from celebrity to time travel.  Each of the six chapters unfolds a century-long cultural story that maps the Dickensian points of inspiration in the history of cinema. Marsh's cinematic geography of Dickensland transports the reader from Dickens's experiences with the early-Victorian portraitist's camera to Sunset Boulevard, Billy Wilder's remake of Great Expectations as a satire on the vampiric celebrity "celluloid self"; from actor-manager Martin-Harvey's 1899 manufacture of the "cast-iron" Victorian stage play to Dirk Bogarde's 1958 inheritance of the sacrificial gay role of Sydney Carton; from Charley Dickens Jnr.'s attempt to cash in on his father's knowledge of London to the history of production design as a medium of historical tourism and virtual experience; from Dickens's "impersonation" of Fagin, anti-Semitic and inherently theatrical, to the transformations of "the Jew" by Chaplin and David Lean and his musical apotheosis as magician and Pied Piper; from Dickens's 1868 return, in his last public reading, to the murder of Nancy to the contemporary slasher movie; and finally from the time travel enabled by the magic lantern's "dissolving views" through the role of Dickens's lantern-inspired Christmas tales of the 1840s in the lantern's development of pre-cinematic visual storytelling.  Informed by extensive archival research, deftly written, and beautifully illustrated, Joss Marsh's book shows film's fascination with Dickens was the trace of a persisting desire”fueled by decades of Dickensian impersonation and enabled by the medium's capacity to make still images live”to bring back the most extraordinary literary artist and personality of the nineteenth and early twentieth centuries”to make Dickens live again.

Multi-Media 'Boz' and the Culture of Celebrity

Starring Charles Dickens

200 of the Deadliest Su Doku Puzzles

The Times Ultimate Killer Su Doku Book 18

A Poem for Every Day and Night of the Year

An inspiring anthology to keep you company for every day and night of the Spring.

An inspiring anthology to keep you company for every day and night of the Spring.

A Poem for Every Spring Day

Toward a New Sociology of Religion

Religious Change in Post-Mao China

Junk this Journal

Tsundoku

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