Henk Schulte Nordholt
By exclusively focusing on the agency of the Dutch, colonial historiography ignored the pivotal role of indigenous middle classes in sustaining the colonial regime. Conventional nationalist historiography, on the other hand, presumes a linear development from urbanization, the rise of the indigenous middle classes, education, and the spread of modernity toward nationalism and revolution as the logical outcome of this process. This article aims to disconnect modernity from nationalism by focusing on the role of cultural citizens in the late-colonial period in the Netherlands Indies, for whom modernity was in the very first place a desirable lifestyle. The extent to which their desires, capitalist strategies, and the interests of the colonial state coincided is illustrated by a variety of advertisements and school posters, which invited members of the indigenous urban middle classes to become cultural citizens of the colony. The image of the cultural citizen was framed within the confinement of the nuclear family, which had a conservative impact on gender relationships.
The Pamirs have been a contested space in different periods of time. Access to fertile pastures characterized the local economic competition between nomads and mountain farmers. International attention reached its peak when the Pamirs became a pawn in the “Great Game”; during the second half of the 19th century, Great Britain and Russia disputed control over the mountainous area. Local and regional interests took on a subordinate role. The imperial contest resulted in dividing the Pamirs among four interested parties that are nowadays independent countries: Afghanistan, Pakistan, Tajikistan, and China. Since the division, separate developments have emerged in all parts that are abodes of farmers and pastoralists who share a common heritage but have experienced quite different political and social developments. Thus the Pamirs represent a focal region of similar ecological properties in which political and socioeconomic developments that originated in the 19th century have changed development paths through the Cold War period until the early 21st century. From Tsarist Russia to post-independence Tajikistan, from the Afghan monarchy to the post-Taliban republic, from British India to Pakistan, and from the Middle Kingdom to contemporary China, political interventions such as nationality policies and regional autonomy, sociotechnical experiments such as collectivization and subsequent deregulation, and varying administrative systems provide insight into external domination that has shaped separate developments in the Pamirs. In the early 21st century, the Pamirs experienced a revaluation as a transit corridor for transcontinental traffic arteries.
The literary history of Bengal is characterized by a multilingual ecology that nurtured the development of Middle Bengali literature. It is around the turn of the second millennium, during the Pāla period (c. 8th–12th century), that eastern South Asia became a major region for the production of literary texts in Sanskrit and Apabhramsha. Early on, Bengal developed a distinct literary identity within the Sanskrit tradition and, despite abrupt political transitions and the fragmentation of the landscape of literary patronage, fundamental aspects of the literary culture of Pāla Bengal were transmitted during later periods. It was during the Sultanate period, from the 14th century onward that courtly milieus began to cultivate Middle Bengali. This patronage was mostly provided by upper-caste Hindu dignitaries and (in the case of lyric poetry at least) by the Sultans themselves. During the period ranging from the 15th to the early 19th centuries, vernacular literature can be divided into two broad categories: short narrative forms called padas or gītas (songs), which were often composed in an idiom derived from songs by the Old Maithili poet Vidyāpati (c. 1370–1460); and long narrative forms in Middle Bengali called pā̃cālīs, which are characterized by the alternation of the prosodic forms called paẏār and tripadī and the occasional insertion of songs.
These poetic forms are the principal markers of the literary identity of Bengal and eastern South Asia (including Assam, Orissa, and Arakan). The Ḥusayn Shāhī period (1433–1486) contributed to the consolidation and expansion eastward of vernacular literary practices. Then, the political landscape became fragmented, and the multiplication of centers of literary production occurred. This fragmentation fostered the formation of new, locally grounded literary trends. These could involve the cultivation of specific genres, the propounding of various religious doctrines and ritual practices, the fashioning of new idioms fostered by either dialectal resources, classical idioms such as Sanskrit or Persian, and other vernacular poetic traditions (Maithili, Avadhi, Hindustani). The late Mughal and early colonial periods witnessed the making of new trends, characterized by a radical modification of the lexical component of the Middle Bengali idiom (i.e., Dobhāṣī), or the recourse to scripts other than Bengali (e.g., Sylhet Nagari/Kaithi, Arabic). The making of such new trends often implied changes in the way that authors interacted with Sanskrit, Persian, and other vernacular traditions. For instance, Persian played as crucial a role as Sanskrit in the various trajectories that Middle Bengali poetry took. On the one hand, Persian in Bengal had a history distinct from that of Bengali; on the other hand, it constituted a major traditional model for Bengali authors and, at times, Persianate education replaced the one based on Sanskrit as the default way to access literacy.
Even if Middle Bengali poetic forms continued to be used in the context of various traditional performances, the making of a new literary language in the 19th century, the adoption of Western genres, and the development of prose and Western prosodic forms occasioned a radical break with premodern literary practices. From the second half of the 19th century, with the notable exception of some ritual and sectarian texts, access to the ancient literature of Bengal began to be mediated by philological analysis and textual criticism.
Huiwen Helen Zhang
An expeditionary force soldier. A jungle war survivor. A patriot who traded opportunities in the United States for a tedious journey home to the newly founded People’s Republic of China. A “counterrevolutionary.” A forced laborer who spent the last third of his life translating English and Russian literature.—A poet. Careful study of Mu Dan’s (1918–1977) poetry enables us to explore a string of moments in modern China’s transformation.
Twenty-two poems by Mu Dan have been selected as a history of China from the climax of the New Culture Movement (1919) through the end of the Great Proletarian Cultural Revolution (1976). Fusing linguistic audacity, philosophical acumen, and historical vision, they weave a thread of themes illuminating the tortured path of a nation and an individual. Further, they span a spectrum of sentiments ranging from those of ordinary people to those of extraordinary intellectuals.
To reveal the turning points in modern China’s history, the twenty-two poems have been contextualized along two axes. A vertical axis, the thread of themes, consists of eleven motifs developed and revisited by Mu Dan from 1940 through 1976; they are: Youth, War, Disillusion, Maturity, Sacrifice, Exposure, Enlightenment, Conversion, Awakening, Anguish, and Reflection. A horizontal axis, the spectrum of sentiments, exhibits Mu Dan’s contradictory attitudes toward modern China’s transformation by identifying him with his countrymen or distancing him from them as a free spirit and cultural critic.
This conceptual framework assists in examining the interaction between history and literature. It demonstrates how modern China’s history informs, provokes, and shapes a poet whose life span coincides with it and, at the same time, how poetry can be and is being read as history itself. This reading allows more than new access to the historical events that mold a poet and his poetry. Reading poetry as history uncovers lost sentiments, struggles, observations, and critiques that advance our understanding of modern China.
With an estimated thirty million or more in Pakistan, twelve million in Afghanistan, and perhaps a million or more in a global diaspora, Pashtuns or Pukhtuns comprise a complex ethno-linguistic population with a rich cultural tradition and literature, varied political and economic contexts, and diverse national and Islamic identities. Historic and literary references to communities that have been thought to identify “Afghans” date to the 10th century and, according to the source and scholar consulted, many centuries earlier. The assumption of any uniquely “Pashtun” identity as equivalent to the diverse “Afghan” cultural, religious, and ethnic identities that evolved over centuries has obfuscated a full understanding of the emergence of distinct regional Pashtun ethno-linguistic communities and the origins of frequently studied cultural idioms. Millions of Pashtuns have lived in close and daily contact with many other ethnic groups (Tajiks, Hazaras, Uzbeks, Turkmen, Baluch, Punjabis, etc.), and color-coded maps of ethnic homelands in Afghanistan and Pakistan are best seen as guides to often complex social geographies rather than absolute markers of ethnically pure settlement areas.
For perhaps a thousand years, Pashtuns and regional forefathers have circulated within imperial and merchant networks connected by Silk Road pathways, Persian and north Indian trade routes, and Indian Ocean sea lanes. Pashtuns sought livelihoods as horse traders, military entrepreneurs, agrarian pioneers, and regional rulers in the northern, eastern, and Deccan regions of India. An Afghan state with variable territorial claims consolidated after 1747. Leading Pashtun clans from around Kandahar and the eastern districts took positions in the dynasties that soon ruled from Kabul and core provinces.
Pashtuns between the Oxus and Indus rivers adapted to, avoided, and served 18th- and 19th-century Russian and British imperial economic and political forces. In the high European “new imperialism” of the late 19th and early 20th centuries, Afghan territories were framed by treaty-negotiated boundaries. Never colonized, Afghanistan became economically dependent on British–India subsidies and linkages. Into the mid-20th century, Afghanistan’s Pashtun political dynasties and Islamic and political activists on both sides of the British-Indian Durand Line offered leadership and alternative visions of the future to anticolonial and Muslim nationalists, including those in British India.
In recent decades, core Pashtun homelands and diasporic communities have fully experienced the disruptions and violence that followed the partition of British India in 1947, postcolonial “national” consolidation, conflict between India and Pakistan over Kashmir, Cold War alliances and conflict, the rise and fall of the Taliban, and civil war. Like others, Pashtun lives were shaped by the transnational dynamics of economic globalization, urbanization, migration, and the international crises that traumatized the world after September 11, 2001.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Asian History. Please check back later for the full article.
Print culture in imperial China spanned over twelve hundred years, from the late 7th century
Sei Jeong Chin
The Chinese media has been discussed either as a challenge to the authoritarian regime or as an instrument to consolidate state power in the recent debates concerning the impact of the Internet and the expansion of social media on China’s authoritarian rule. Both views have adopted the framework that was developed out of the liberal model of media in the West. In the liberal model, the news media should go through full-flown commercialization to achieve autonomy and independence from the state. The independence of the news media from the state is the precondition for the news media’s role as watchdog of the state and check on the government. However, the liberal model does not fit the actual historical experiences of the news media in China. Throughout the 20th century, state control of the media expanded in the context of state-building, war, and revolution. The Chinese media did not go through full-flown commercialization to the extent that the media would achieve complete independence from the state. Rather, in the context of state expansion, the media and the state became interdependent rather than antagonistic. In the state-dominated environment, the media did not necessarily seek independence from the state. Nevertheless, even without independence, the media can still play a significant political role within the limits and boundaries set by the state. This has important implications for understanding the resilience of the contemporary Chinese government.
The Inner Eurasian nomadic confederation known in ancient Chinese sources as the Yuezhi were probably descended from Indo-European-speaking pastoral nomads who migrated eastward away from the original homeland of all Indo-European-speakers sometime during the Bronze Ages. The ancestors of the Yuezhi may have been members of the Afanasevo culture who eventually settled in the modern Chinese provinces of Xinjiang and Gansu, and spoke the Indo-European language branch of Tocharian. The ruling dynasty (the core Yuezhi) established a wealthy semi-sedentary pastoralist confederation, based on the export of jade and horses to Zhou dynasty China, and became powerful enough to treat their militarized nomadic neighbors the Wusun and Xiongnu with “contempt.” This remained the situation until the 2nd century
These events were bound up with broader cultural and political developments in ancient Inner Eurasia that demonstrate the particular interconnectedness of historical processes in that region. The Yuezhi were well known to a range of contiguous peoples (generally by variants of the appellation “Tocharian”) and the events in which they found themselves involved, particularly during the 2nd century