Books published by publisher Univ of Hawaii Pr

Few thinkers have stood as squarely at both the center and the periphery of an intellectual movement as has Shao Yung (1011-1077). Ethical model and eccentric, socialite and eremite, Shao Yung is perhaps not only the greatest enigma of early Neo-Confucianism, but also one of its undisputed giants. In this impressive life-and-thought study, Don J. Wyatt painstakingly sifts through all available evidence relating to Shao Yung and his scholarship to provide a portrait that fully exposes the moral center of the man and his work. Drawing on the abundant store of letters and accounts by Shao's contemporaries and his own much-neglected poetry, Wyatt has assembled a study that intimately relates Shao's life to his thought. He challenges the assumptions of previous Western scholarship by persuasively arguing against the acceptance of works traditionally ascribed to Shao - specifically, the Kuan-wu wai-p'ien (Outer Chapters on Observing Things), the Yu-ch'iao wen-ta (Fisherman and Woodcutter Dialogue), and the cryptic quasi-autobiographical essay Wu-ming kung chuan (Biography of the Nameless Lord).Shao is presented as an independent thinker whose philosophical lexicon functioned according to a profound interdependence that was unique among the systems of his peers. His metaphysical concepts, which appear impervious to and beyond the scope of human influence - namely, his ching-shih (world ordering), kuan-wu (observing things), and I-Ching - derived hsien-t'ien (before Heaven) methodologies - are essentially the products of a morally reflective life. Wyatt's discoveries, therefore, refute the common assertion of Shao Yung's moral indifference. Moreover, by meticulously integrating the progress of this Neo-Confucian's thought into the course of his life, the author has produced one of the most textured and accessible works on a philosopher of the Sung era.

An Ocean in Mind poses a number of provocative questions about the ways in which the human mind acquires, utilizes, and transmits different forms of knowledge. Author Will Kyselka has woven an exploration of this theme around the story of the Hokule'a, a re-creation of a traditional Polynesian sailing vessel that completed a successful roundtrip journey between Hawaii and Tahiti in 1980. From this story emerges portraits of two men who played integral roles in that voyage.Nainoa Thompson, a young man of Hawaiian descent, kept the Hokule'a on its 6,000-mile course using only the stars and the sea as his guides. He was inspired by Carolinian navigator Mau Piailug, a gentle, softspoken man with keen instincts and an unlimited understanding of the oceans and heavens derived from his Oceanic cultural past. Thompson also worked with Kyselka to generate a body of information concerning movement of the stars using the Bishop Museum Planetarium as a resource.How Thompson was eventually able to forge these vastly different approaches to knowledge into a cogent wayfinding system uniquely his own, and his rediscovery of an almost forgotten cultural heritage in the process, makes for a thrilling adventure story.

Philosophy challenges our assumptions―especially when it comes to us from another culture. In exploring Japanese philosophy, a dependable guide is essential. The present volume, written by a renowned authority on the subject, offers readers a historical survey of Japanese thought that is both comprehensive and comprehensible.Adhering to the Japanese philosophical tradition of highlighting engagement over detachment, Thomas Kasulis invites us to think with, as well as about, the Japanese masters by offering ample examples, innovative analogies, thought experiments, and jargon-free explanations. He assumes little previous knowledge and addresses themes―aesthetics, ethics, the samurai code, politics, among others―not in a vacuum but within the conditions of Japan’s cultural and intellectual history. For readers new to Japanese studies, he provides a simplified guide to pronouncing Japanese and a separate discussion of the language and how its syntax, orthography, and linguistic layers can serve the philosophical purposes of a skilled writer and subtle thinker. For those familiar with the Japanese cultural tradition but less so with philosophy, Kasulis clarifies philosophical expressions and problems, Western as well as Japanese, as they arise. Half of the book’s chapters are devoted to seven major thinkers who collectively represent the full range of Japan’s historical epochs and philosophical traditions: Kūkai, Shinran, Dōgen, Ogyū Sorai, Motoori Norinaga, Nishida Kitarō, and Watsuji Tetsurō. Nuanced details and analyses enable an engaged understanding of Japanese Buddhism, Confucianism, Shintō, and modern academic philosophy. Other chapters supply social and cultural background, including brief discussions of nearly a hundred other philosophical writers. (For additional information, cross references to material in the companion volume Japanese Philosophy: A Sourcebook are included.) In his closing chapter Kasulis reflects on lessons from Japanese philosophy that enhance our understanding of philosophy itself. He reminds us that philosophy in its original sense means loving wisdom, not studying ideas. In that regard, a renewed appreciation of engaged knowing can play a critical role in the revitalization of philosophy in the West as well as the East.

This revised edition of the standard history of Guam is intended for general readers and students of the history, politics, and government of the Pacific region. Its narrative spans more than 450 years, beginning with the initial written records of Guam by members of Magellan 1521 expedition and concluding with the impact of the recent global recession on Guam’s fragile economy.

Tadaima! I Am Home unearths the five-generation history of a family that migrated from Hiroshima to Honolulu but never settled. In the telling, the common Japanese greeting “tadaima!” takes on a perplexing meaning. What is home? Where most immigrants either establish roots in a new place or return to their place of origin, the Miwa family became transnational. With one foot in Japan, the other in America, they attempted to build lives in both countries. In the process, they faced the challenges of internment, a civilian prisoner exchange, the atomic bomb, and the loss of their holdings on both sides of the Pacific.The story begins and ends with the fifth-generation figure, Stephen Miwa of Honolulu, who is trying to get to the bottom of a shadowed reference to his family name: “The Miwas are unlucky.” Tom Coffman’s research tracks back to the founding sojourner, Marujiro, a fallen samurai, and to the sons of subsequent generations―Senkichi, a field laborer turned storekeeper; James Seigo, a merchant prince; Lawrence Fumio, a heroically struggling “foreign” student; and, finally, the contemporary Stephen, whose nagging questions drive him to excavate his enigmatic past. Among the book’s unusual finds, the most extraordinary is the fourteen-year-old Fumio’s student diary, which he maintained in Hiroshima from July 4, 1945, through his survival of atomic bombing and into the following autumn. The Miwas climbed from poverty to wealth, and then fell precipitously from wealth into poverty. The most recent generations have regrouped by dint of intense determination and devotion to education, exercised against the strange transformation of Japanese Americans from despised “other” to model minority. Throughout, this resilient family has kept an outwardly facing cheerfulness, giving no clues as to what they have been through. Tadaima! I Am Home confronts history from a largely unexplored transnational viewpoint, suggesting new ways of looking and seeing. Although it does not explicitly beg the question of internal security in the present, it poses new perspectives on immigration, acculturation, commitment to nation, and the marginalization of distrusted minorities.

"What Are Fronds For?" is about Hawaiian Islands crafts and artifacts. From toys and games to foods and planting, the authors cover an incredible variety of items. The 70-plus patterns are accompanied by black and white drawings and explicit instructions. You will find basic techniques of basket-making comparing regional similarities and differences over the course of two-hundred years. Also, describes the basic techniques used in plaiting that are in danger of being lost. There are six projects included.

Hawaii has one of the richest culinary heritages in the United States. Where else would you find competitions for the best saimin, sushi, Portuguese sausage, laulau, plate lunch, kim chee, dim sum, shave ice, and hamburgers? Hawaii's contemporary regional cuisine (affectionately known as "Local Food" by residents) is a truly amazing fusion of diverse culinary influences. In The Food of Paradise: Exploring Hawaii's Culinary Heritage, Rachel Laudan takes readers on a thoughtful, wide-ranging tour of Hawaii's farms and gardens, fish auctions and vegetable markets, fairs and carnivals, mom-and-pop stores and lunch wagons, to uncover the delightful complexities and incongruities in Hawaii's culinary history that have led to such creations as saimin, crack seed, and butter mochi.Part personal memoir, part historical narrative, part cookbook, The Food of Paradise begins with a series of essays that describe Laudan's initial encounter with a particular Local Food, an encounter that puzzled her and eventually led to tracing its origins and influence in Hawaii. Representative recipes follow. Like pidgin, the creole language created by Hawaii's early immigrants, Local Food is a creole cuisine created by three distinct culinary influences: Pacific, American and European, and Asian. In her attempt "to decipher Hawaii's culinary Babel," Laudan examines the contributions of each, including the introduction of new ingredients and the adaptation of traditional dishes to Hawaii's way of life.More than 150 recipes, photographs, a bibliography of Hawaii's cookbooks, and an extensive glossary make The Food of Paradise an invaluable resource for cooks, food historians, and Hawaiian buffs.

This abundantly illustrated and richly documented history provides a comprehensive look at one of the world's last colonies. Rogers evokes the dramatic but little-known saga of Guam's people from the precontact era to Spanish domination, from colonial rule under a US naval government to the massive military invasions of World War II, and on through to the present.

National, disciplinary, and linguistic boundaries all play a role in academic study and nowhere is this more apparent than in traditional humanities scholarship surrounding the atomic bombing of Hiroshima and Nagasaki. How would our understanding of this seminal event change if we read Japanese and Euro-American texts together and across disciplines? In Producing Hiroshima and Nagasaki, Yuko Shibata juxtaposes literary and cinematic texts usually considered separately to highlight the “connected divides” in the production of knowledge on Hiroshima and Nagasaki, shedding new light on both texts and contexts in the process.Shibata takes up two canonical works―American journalist John Hersey’s account, Hiroshima, and French director Alain Resnais’ avant-garde film, Hiroshima Mon Amour―that are traditionally excluded from study in Japanese literature and cinema. By examining Hersey’s Hiroshima in conjunction with The Bells of Nagasaki (Nagai Takashi) and Children of the A-Bomb (Osada Arata), both Japanese bestsellers, Shibata demonstrates how influential Hersey’s Hiroshima has been in forging the normative narrative of the hibakusha experience in Japan. She also compares Hiroshima Mon Amour with Kamei Fumio’s documentary, Still It’s Good to Live, whose footage Resnais borrowed to depict atomic bomb victimhood. Resnais’ avant-garde masterpiece, she contends, is the palimpsest of Kamei’s surrealist documentary; both blur the binaries between realist and avant-garde representations. Reading Hiroshima Mon Amour in its historical context enables Shibata to offer an entirely new analysis of Renais’ work. She also delineates how Japanese films came to produce the martyrdom narrative of the hibakusha in the early postwar period.Producing Hiroshima and Nagasaki allows us to trace the complex and entangled political threads that link representations of Hiroshima and Nagasaki, reminding us that narratives and images deploy different effects in different places and times. This highly original approach establishes a new kind of transnational and transpacific studies on Hiroshima and Nagasaki and raises the possibility of a comparative area studies to match the age of world literature.