Centre for Cultural, Literary and Postcolonial Studies (CCLPS)

Speaking Our Selves brings together eight remarkable plays by women writers from the under-represented African countries of Tanzania, Mozambique, Ethiopia, Mali, Burundi, Benin, and Sudan, plus a play by award-winning Ugandan playwright and volume coeditor Asiimwe Kawe. Four of the plays are translated into English from Kiswahili, French, or Kirundi and French, while most of the plays preserve African indigenous languages, including Runyankore, Lusoga, Mina, Fon, Bambara, Luganda, Kiswahili, and Kirundi. Although the plays are united in presenting women as central figures who own their voices, they also represent a rich diversity of story-telling. Each unique dramaturgy is rooted in African forms of story-telling that occasionally merge with recognizable Western forms to create hybrid, dramatic forms. These hybrid methods emphasize the striking ways in which African women writers continue to experiment with form, moving beyond Western-influenced dramaturgy if and when it jeopardizes their authentic ways of artistic expression and creation through language, movement, and music, centered in African Cosmology.

A free open access ebook is available upon publication. Learn more atwww.luminosoa.org. What are the pleasures of reading translations of South Asian literature, and what does it take to enjoy a translated text? This volume provides opportunities to explore such questions by bringing together a whole set of new translations by David Shulman, noted scholar of South Asia. The translated selections come from a variety of Indian languages, genres, and periods, from the classical to the contemporary. The translations are accompanied by short essays written to help readers engage and enjoy them. Some of these essays provide background to enhance reading of the translation, whereas others model how to expand appreciation in comparative and broader ways. Together, the translations and the accompanying essays form an essential guide for people interested in literature and art from South Asia.

This book analyses queer cultural production in contemporary China to map the broad social transformations in gender, sexuality and desire. It examines queer literature and visual cultures in China's post-Mao and postsocialist era to show how these diverse cultural forms and practices not only function as context-specific and culturally sensitive forms of social activism but also produce distinct types of gender and sexual subjectivities unique to China's postsocialist conditions. From poetry to papercutting art, from 'comrade/gay literature' to girls' love fan fiction, from lesbian films to activist documentaries, and from a drag show in Shanghai to a public performance of a same-sex wedding in Beijing, the book reveals a queer China in all its ideological complexity and creative energy.

For hundreds of years until the 1900s, in today's China, Japan, North and South Korea, and Vietnam, literati of Classical Chinese or Literary Sinitic (wényán 文言) could communicate in writing interactively, despite not speaking each other's languages. This book outlines the historical background of, and the material conditions that led to, widespread literacy development in premodern and early modern East Asia, where reading and writing for formal purposes was conducted in Literary Sinitic. To exemplify how 'silent conversation' or 'brush-assisted conversation' is possible through writing-mediated brushed interaction, synchronously face-to-face, this book presents contextualized examples from recurrent contexts involving (i) boat drifters; (ii) traveling literati; and (iii) diplo- matic envoys. Where profound knowledge of classical canons and literary works in Sinitic was a shared attribute of the brush-talkers concerned, their brush-talk would characteristically be intertwined with poetic improvisation.

Founded in 1676 during a cosmopolitan early modern period, Mindröling monastery became a key site for Buddhist education and a Tibetan civilizational center. Its founders sought to systematize and institutionalize a worldview rooted in Buddhist philosophy, engaging with contemporaries from across Tibetan Buddhist schools while crystallizing what it meant to be part of their own Nyingma school. At the monastery, ritual performance, meditation, renunciation, and training in the skills of a bureaucrat or member of the literati went hand in hand. Studying at Mindröling entailed training the senses and cultivating the objects of the senses through poetry, ritual music, monastic dance, visual arts, and incense production, as well as medicine and astrology. Dominique Townsend investigates the ritual, artistic, and cultural practices inculcated at Mindröling to demonstrate how early modern Tibetans integrated Buddhist and worldly activities through training in aesthetics