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How transnational modernity is taking shape in and in relation to Asia Fashion and Beauty in the Time of Asia considers the role of bodily aesthetics in the shaping of Asian modernities and the formation of the so-called “Asian Century.” S. Heijin Lee, Christina H. Moon, and Thuy Linh Nguyen Tu train our eyes on sites as far-flung, varied, and intimate as Guangzhou and Los Angeles, Saigon and Seoul, New York and Toronto. They map the transregional connections, ever-evolving aspirations and sensibilities, and new worlds and life paths forged through engagements with fashion and beauty.Contributors consider American influence on plastic surgery in Korea, Vietnamese debates about “the fashionable,” and the costs and commitments demanded of those who make and wear fast fashion, from Chinese garment workers to Nepalese nail technicians in New York who are mandated to dress «fashionably.» In doing so, this interdisciplinary anthology moves beyond common characterizations of Asians and the Asian diaspora as simply abject laborers or frenzied consumers, analyzing who the modern Asian subject is now: what they wear and how they work, move, eat, and shop.
Unnamable
Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. [b][/b]Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself. Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. [b][/b]Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.
Contemporary Asian America (third edition)
The third edition of the foundational volume in Asian American studies Who are Asian Americans? Moving beyond popular stereotypes of the “model minority” or “forever foreigner,” most Americans know surprisingly little of the nation’s fastest growing minority population. Since the 1960s, when different Asian immigrant groups came together under the “Asian American” umbrella, they have tirelessly carved out their presence in the labor market, education, politics, and pop culture. Many times, they have done so in the face of racism, discrimination, sexism, homophobia, and socioeconomic disadvantage. Today, contemporary Asian America has emerged as an incredibly diverse population, with each segment of the community facing its unique challenges. When Contemporary Asian America was first published in 2000, it exposed its readers to the formation and development of Asian American studies as an academic field of study, from its inception as part of the ethnic consciousness movement of the 1960s to the systematic inquiry into more contemporary theoretical and practical issues facing Asian America at the century’s end. It was the first volume to integrate a broad range of interdisciplinary research and approaches from a social science perspective to assess the effects of immigration, community development, and socialization on Asian American communities. This updated third edition discusses the impact of September 11 on Asian American identity and citizenship; the continued influence of globalization on past and present waves of immigration; and the intersection of race, gender, sexuality, and class on the experiences of Asian immigrants and their children. The volume also provides study questions and recommended supplementary readings and documentary films. This critical text offers a broad overview of Asian American studies and the current state of Asian America.
Citizens of Asian America
Winner, 2013-2014 Asian/Pacific American Award for Literature, Adult Non-Fiction presented by the Asian Pacific American Librarian Association During the Cold War, Soviet propaganda highlighted U.S. racism in order to undermine the credibility of U.S. democracy. In response, incorporating racial and ethnic minorities in order to affirm that America worked to ensure the rights of all and was superior to communist countries became a national imperative. In Citizens of Asian America , Cindy I-Fen Cheng explores how Asian Americans figured in this effort to shape the credibility of American democracy, even while the perceived “foreignness” of Asian Americans cast them as likely alien subversives whose activities needed monitoring following the communist revolution in China and the outbreak of the Korean War.While histories of international politics and U.S. race relations during the Cold War have largely overlooked the significance of Asian Americans, Cheng challenges the black-white focus of the existing historiography. She highlights how Asian Americans made use of the government’s desire to be leader of the “free world” by advocating for civil rights reforms, such as housing integration, increased professional opportunities, and freedom from political persecution. Further, Cheng examines the liberalization of immigration policies, which worked not only to increase the civil rights of Asian Americans but also to improve the nation’s ties with Asian countries, providing an opportunity for the U.S. government to broadcast, on a global scale, the freedom and opportunity that American society could offer.
Kieler Bagaluten
Ein humorvoller Krimi vor stürmischer Ostseekulisse.
Wer hätte gedacht, dass eine altehrwürdige Brücke am Nordostseekanal so viel kriminelle Energie freisetzen kann? Und das nur wegen ein, zwei Gläschen Eierlikör, die Frau Heerten dazu brachten, die kleine Maunzi am Fuß der Alten Levensauer zu verbuddeln. Dabei findet sie Spuren eines Mordes, die sie erst in die Arme eines jugendlichen Liebhabers und dann in einen mächtigen Schlamassel treiben.
Wildspitz
Psychologisch, feinfühlig, aufrüttelnd.
In ein Forschungslabor in Rotkreuz wird eingebrochen, der Nachtwächter erschlagen und die Versuchstiere befreit. Stecken radikale Tierschützer dahinter? Als einige Wochen später kranke Tiere auftauchen und Menschen angreifen, befürchtet Sara Jung von der Zuger Kriminalpolizei Schlimmes, denn bei dem Einbruch ins Labor wurden gefährliche Viren gestohlen. Während sich am Rossberg die Menschen zu einer Treibjagd versammeln, um erkranktes Wild zu schiessen, wird Sara klar, dass der Täter auf eine ganz andere Beute lauert.
Schwarzwälder Schweigen
Ein Buch wie ein Actionfilm, hart, schnell … und mit Herz.
Nach einer unfreiwilligen Auszeit in einem Schwarzwälder Kurheim darf Hauptkommissar Carl Christopher Moderski zurück in den Dienst – wenn er Teil der Verbindungsstelle Internationaler Menschenhandel wird und Akten wälzt, statt zu ermitteln. Zähneknirschend stimmt Moderski zu. Doch dann wird er auf einem Kongress zusammen mit Hunderten Teilnehmern Zeuge eines Mordes – und muss den Täter finden, bevor der einen weiteren Menschen tötet. Ein Wettlauf um Leben und Tod beginnt …
Der Grenadier und der stille Tod
Ein sorgfältig recherchierter Roman, der die Leser ins historische Karlsruhe des 18. Jahrhunderts entführt.
Januar 1772. Halb Karlsruhe verfolgt die Hinrichtung einer Kindsmörderin. Auch Straßenfeger Ignatz ist dabei, dem das Geschehen unter die Haut geht. Kurz darauf wird ein Soldat des badischen Leibgrenadierregiments erschlagen. Für Major von Sandberg ist die Sache klar: Raubmord. Als Täter kommt niemand anderes als der Straßenfeger in Frage. Doch das Verhör endet in einem Fiasko – Ignatz scheint weder hören noch sprechen zu können. Als er flüchtet und ein weiterer Mord geschieht, gleitet dem erfolgsverwöhnten Major der Fall aus den Händen …
Ich bin der Sturm
Cineastisch, Düster, Soghaft
Madonna ist ein Geist, eine Namenlose, ihre Zelle trägt die Nummer 13. Ohne jede Hoffnung muss sie Nacht für Nacht Unvorstellbares über sich ergehen lassen. Doch Madonna ist zäh. Und geduldig. Denn sie weiß: Sie muss zurück zu den Anfängen ihres Martyriums, um es zu beenden. Als ihr endlich die Flucht gelingt, begibt sie sich auf eine gnadenlose Odyssee, immer nur ein Ziel vor Augen: Rache. Doch überall lauert Gefahr, und auch ihre Peiniger sind ihr bereits auf den Fersen, und irgendwann muss sie sich die Frage stellen: Soll sie weiter fliehen oder sich ihren Dämonen stellen?
Leise rieselt der Tod
Friede, Freude, Leichenschmaus
Weihnachten allein daheim zu sitzen, weil einem der Mann davongelaufen ist? Kommt für Jennifer nicht in Frage. Stattdessen quartiert sie sich bei Tom ein, einem guten Freund und frischgebackenen Landarzt. Doch aus den erhofften ruhigen Feiertagen wird nichts: Erst kündigt seine komplette Familie ihren Besuch an, dann trübt ein Mord die dörfliche Idylle. Als Tom in den Fall verwickelt wird, beginnt Jennifer nachzuforschen – und landet ausgerechnet in einem Weihnachtsflirtkurs für einsame Herzen …