Pi gu is an ancient Taoist method of fasting for spiritual and healing purposes. Unlike traditional fasting, you do not need to stop eating when practicing pi gu. Used by ancient Taoist masters during their months or years of solitary retreat in pursuit of enlightenment, the practice centers on a simple diet of fruits, teas, nuts, and eggs paired with special chewing techniques and chi kung exercises. Providing a step-by-step guide to Pi Gu Chi Kung, Master Mantak Chia and coauthor Christine Harkness-Giles explain the pi gu diet, provide immortality tea recipes, detail the pi gu chewing exercises, and illustrate the corresponding chi kung energy exercises. They also explain the use of pi gu during darkness retreats to enhance spiritual awareness and increase mental powers and wisdom.

Bringing together the innovative work of scholars from a variety of disciplines, Matsuri and Religion explores festivals in Japan through their interconnectedness to religious life in both urban and rural communities. Each chapter, informed by extensive ethnographic engagement, focuses on a specific festival to unpack the role of religion in collective ritualized activities. With attention to contemporary performance and historical transformation, the study sheds light on understandings of change, identity and community, as well as questions regarding intangible cultural heritage, tourism, and the intersection of religion with politics. Read as a whole, the volume provides a uniquely multi-sited ethnographic, historical, and theoretical study, contributing to discourses on religion and festival/ritual/performance in Japan and elsewhere around the globe.

Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an "Eastern Approach" into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.