Seminar papers.

In Lost Modernities Alexander Woodside offers a probing revisionist overview of the bureaucratic politics of preindustrial China, Vietnam, and Korea. He focuses on the political and administrative theory of the three mandarinates and their long experimentation with governments recruited in part through meritocratic civil service examinations remarkable for their transparent procedures. The quest for merit-based bureaucracy stemmed from the idea that good politics could be established through the "development of people"--the training of people to be politically useful. Centuries before civil service examinations emerged in the Western world, these three Asian countries were basing bureaucratic advancement on examinations in addition to patronage. But the evolution of the mandarinates cannot be accommodated by our usual timetables of what is "modern." The history of China, Vietnam, and Korea suggests that the rationalization processes we think of as modern may occur independently of one another and separate from such landmarks as the growth of capitalism or the industrial revolution. A sophisticated examination of Asian political traditions, both their achievements and the associated risks, this book removes modernity from a standard Eurocentric understanding and offers a unique new perspective on the transnational nature of Asian history and on global historical time.

Theatre and Performance in the Asia-Pacific is an innovative study of contemporary theatre and performance within the framework of modernity in the Asia-Pacific. It is an analysis of the theatrical imaginative as it manifests in theatre and performance in Australia, Indonesia, Japan and Singapore.

Where did literary modernism happen? This book answers this question, re-evaluating the parameters of modernism in the light of recent developments in literary geography and literary history through an examination of novels, poetry, theatre, and "e;little magazines"e;. Essays identify and appraise the local attachments of modernist texts in particular geographical regions and question the idea of the "e;regional"e; in light of the alienating displacements of transnational modernity.

This collection seeks to contribute to the many long-standing discussions on modernity, but also and more specifically to the more recent debates over trends to pluralize modernity. These debates are current in many different academic disciplines such as sociology, anthropology, literature and postcolonial studies. Hitherto, most engagements with modernity in the plural have remained conspicuously confined to one or other intra-disciplinary notion of modernities, such as that of Shmuel Eisenstadt’s “multiple modernities” which has triggered a host of conference papers and publications largely within sociology: all the while, it seems that the literatures, for instance, of multiple modernities and alternative modernities are each distinguished by the fact that one ignores the other. It is the principal aim of this edited volume to subject these disciplinary discussions to a more encompassing view, assembling contributions from different scholars who not only work in different disciplines and regional settings, but who also engage with their research topics in a variety of approaches and at different levels of analysis. The volume thus transcends the sometimes narrow boundaries of the debates over modernities within the established academic disciplines and seeks to turn the unavoidable friction brought about by this interdisciplinary setting into most original and insightful scholarship.

Global Modernities is a sustained commentary on the international character of the most microcosmic practices. It demonstrates how the global increasingly informs the regional, so deconstructing ideas like the `nation state′ and `national sovereignty′. The spatialization of social theory, hybridization and bio-politics are among the critical issues discussed.

This book examines the circulation and viewership of Bollywood films and filmi modernity in Bangladesh. The writer poses a number of fundamental questions: what it means to be a Bangladeshi in South Asia, what it means to be a Bangladeshi fan of Hindi film, and how popular film reflects power relations in South Asia. The writer argues that partition has resulted in India holding hegemonic power over all of South Asia’s nation-states at the political, economic, and military levels–a situation that has made possible its cultural hegemony. The book draws on relevant literature from anthropology, sociology, film, media, communication, and cultural studies to explore the concepts of hegemony, circulation, viewership, cultural taste, and South Asian cultural history and politics.