This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty.

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty.

Blame for the putative failure of liberalism in late-nineteenth-century Japan and China has often been placed on an insufficient grasp of modernity among East Asian leaders or on their cultural commitments to traditional values. In Personal Liberty and Public Good, Douglas Howland refutes this view, turning to the central text of liberalism in that era: John Stuart Mill's On Liberty. Howland offers absorbing analyses of the translations of the book into Japanese and Chinese, which at times reveal astonishing emendations. As with their political leaders, Mill's Japanese and Chinese translators feared individual liberty could undermine the public good and standards for public behaviour, and so introduced their own moral values - Christianity and Confucianism, respectively- into On Liberty, filtering its original meaning. Howland mirrors this mistrust of individual liberty in Asia with critiques of the work in England, which itself had trouble adopting liberalism. Personal Liberty and Public Good is a compelling addition to the corpus of writing on the work of John Stuart Mill. It will be of great interest to historians of political thought, liberalism, and translation, as well as scholars of East Asian studies.

The State of Sovereignty examines how it came to pass that the nation-state became the prevailing form of governance in the world today. Spanning the 19th and 20th centuries and addressing colonization and decolonization around the globe, these essays argue that sovereignty is a set of historically contingent practices, and not something that accrues naturally to states. The contributors explore the different ways in which sovereign political forms have been defined and have defined themselves, placing recent debates about nations and national identity within a broader history of sovereignty, territory, and legality.

D. R. Howland explores China’s representations of Japan in the changing world of the late nineteenth century and, in so doing, examines the cultural and social borders between the two neighbors. Looking at Chinese accounts of Japan written during the 1870s and 1880s, he undertakes an unprecedented analysis of the main genres the Chinese used to portray Japan—the travel diary, poetry, and the geographical treatise. In his discussion of the practice of “brushtalk,” in which Chinese scholars communicated with the Japanese by exchanging ideographs, Howland further shows how the Chinese viewed the communication of their language and its dominant modes—history and poetry—as the textual and cultural basis of a shared civilization between the two societies. With Japan’s decision in the 1870s to modernize and westernize, China’s relationship with Japan underwent a crucial change—one that resulted in its decisive separation from Chinese civilization and, according to Howland, a destabilization of China’s worldview. His examination of the ways in which Chinese perceptions of Japan altered in the 1880s reveals the crucial choice faced by the Chinese of whether to interact with Japan as “kin,” based on geographical proximity and the existence of common cultural threads, or as a “barbarian,” an alien force molded by European influence. By probing China’s poetic and expository modes of portraying Japan, Borders of Chinese Civilization exposes the changing world of the nineteenth century and China’s comprehension of it. This broadly appealing work will engage scholars in the fields of Asian studies, Chinese literature, history, and geography, as well as those interested in theoretical reflections on travel or modernism.