New Books Network

Jeremy Yellen’s The Greater East Asia Co-Prosperity Sphere: When Total Empire Met Total War (Cornell University Press, 2019) is a challenging transnational exploration of the Greater East Asia Co-Prosperity Sphere, Japan’s ambitious, confused, and much maligned attempt to create a new bloc order in East and Southeast Asia during World War II. Yellen’s book is welcome both as the first book-length treatment of the Sphere in English and for also being innovative in both approach and analysis. The book is divided into two parts, each addressing one of the “two Pacific Wars,” as Yellen puts it: a “war of empires” and “an anticolonial war… for independence.” The first half of the book treats the Japanese “high policy” of the Sphere. Here, Yellen not only provides—through the Coprosperity Sphere—a provocative new reading of the Tripartite Pact and the imbrication of Japan’s regional and global geopolitical strategies, but also outlines an important timeline of how Japanese conceptualizations of the Sphere evolved with the changing economic, political, and military expediencies of the Pacific War. Though ideas about the Sphere as a regional order of hierarchical solidarity with Japan at its apex, a “grand strategy of opportunism” rooted in the “sphere-of-influence diplomacy” and “cooperative imperialism” of Japan’s bombastic and enigmatic foreign minister, Matsuoka Yōsuke, Yellen shows that plans for the Sphere only became specific and concrete when Japan’s war situation descended into increasing desperation from 1942 on. The second half of the book shifts gears to examine responses to the Sphere in the Philippines and Burma. Yellen shows that for local nationalist elites like Burma’s first prime minister Ba Maw, whether Japanese rhetoric about the creation of more-or-less liberal international order within the Sphere for the top-echelon nations like Burma and the Philippines was genuine or self-serving, “even sham independence brought opportunity.” By focusing on these pragmatic nationalists (“patriotic collaborators”) Yellen contributes to a growing body of literature on empire that refuses to be pigeonholed by binaries of virtuous resistance and traitorous collaboration.
This podcast was recorded as a lecture/dialogue for a live audience at Nagoya University.
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In 362/363 the Roman emperor Julian composed a treatise titled Against the Galileans in which he set forth his reasons for abandoning Christianity and returning to devotion to the traditional Greco-Roman deities. Sixty years later Cyril, bishop of Alexandria, composed a response. His resulting treatise Against Julian would dwarf the size of Julian's original work and in fact serves as our primary source for the fragments of it that have survived. Julian's treatise was the most sophisticated critique of Christianity to have been composed in antiquity and Cyril's rebuttal was equally learned. The Christian bishop not only responded directly to Julian's own words but drew upon a wide range of ancient literature, including poetry, history, philosophy, and religious works to undermine the emperor's critiques of the Christian Bible and bolster the intellectual legitimacy of Christian belief and practice. Cyril of Alexandria: Against Julian, Introduction and Translation (Cambridge UP, 2025) is the first full translation of the work into English.

New Books in Late Antiquity is presented by Ancient Jew Review.

Matthew Crawford Program Director, Biblical and Early Christian Studies. Institute for Religion and Critical Inquiry at Australian Catholic University

Aaron Johnson, for the past 15 years, has been teaching at Lee University in Tennessee

Michael Motia teaches in Classics and Religious Studies at UMass Boston
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Looking beyond the marble elegance of Michelangelo's David, the pugnacious, passionate, and--crucially--important story of Renaissance manhood. 
Timothy McCall's book Making the Renaissance Man: Masculinity in the Courts of Renaissance Italy (Reaktion, 2023) explores the images, objects, and experiences that fashioned men and masculinity in the courts of fifteenth-century Italy. Across the peninsula, Italian princes fought each other in fierce battles and spectacular jousts, seduced mistresses, flaunted splendor in lavish rituals of knighting, and demonstrated prowess through the hunt--all ostentatious performances of masculinity and the drive to rule. Hardly frivolous pastimes, these activities were essential displays of privilege and virility; indeed, violence underlay the cultural veneer of the Italian Renaissance. Timothy McCall investigates representations and ideals of manhood in this time and provides a historically grounded and gorgeously illustrated account of how male identity and sexuality proclaimed power during a century crucial to the formation of Early Modern Europe.
Jana Byars is an independent scholar located in Amsterdam.
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Political historian Oscar Winberg has a fascinating new book titled Archie Bunker for President: How One Television Show Remade American Politics. This book weaves together quite a few different threads in examining the historical context in which the television show, All In The Family, landed on American television screens. Archie Bunker for President examines why this particular sitcom was a kind of inflection point within U.S. politics, within the media landscape at the time and moving forward, and how television production shifted and changed around this one particular television series. Winberg also lays out the path from the early 1970s, when All in the Family first aired, to our contemporary political moment, when celebrity and politics seem to be inescapably intertwined.

As Winberg notes in our conversation, television as an entity is inherently conservative, since the functional model was about appealing to the lowest common denominator so that advertisers would be willing to pay for time during shows. In order to reach the most viewers, at least in the age of network television, the television series needed to appeal to the largest market possible, and not “turn off” viewers. What happens in the late 1960s and early 1970s with the television show All in the Family is that this dynamic shifts, and the case is made that it isn’t about reaching the most people, but about reaching the people who have the means and inclination to purchase what the advertisers are selling. This is part of the pitch that Norman Lear makes, that CBS executive Bob Wood finally decides to gamble on by greenlighting All in the Family. The dynamic inside the show itself is to focus on politics: to have the characters within the series discuss different political issues, and engage with the impacts of these issues, from women’s rights and reproductive health to homosexuality to racism and the anti-war movement. In designing All in the Family with Archie Bunker (played by Carroll O’Conner) clearly defined as a conservative and as a bigot, and with Archie’s daughter, Gloria Stivic (played by Sally Struthers) and son in law, Mike Stivic (played by Rob Reiner), as liberals and politically active, the show embedded politics within the narrative. Edith Bunker, played by Jean Stapleton, was an enthusiastic supporter of the Equal Rights Amendment, which was making its way through the ratification process while the series was airing, providing yet another avenue for political discussion within the show’s structure.

There were quite a few other shows that were developed at the same time as All in the Family that took up similarly political themes in iconic ways, from the Mary Tyler Moore Show to M*A*S*H to Maude. Political conversations were the fabric of these shows in much the same way as in All in the Family, where characters find themselves experiencing dimensions of politics in their lives and they discuss this with friends and family within the narrative construction. This also translated to Americans discussing these shows with each other at dinner, or at the “water cooler”, or at the beauty parlor or barbershop. Given the structure of television in the 1970s and 1980s, before cable and streaming services, options were more limited options, and many of these shows had great writers, actors, and showrunners. This was “appointment television” because there was no way to record or otherwise go back and watch the episode. Episodes were only available at their regularly scheduled time and day—which also meant that lots and lots of Americans were watching the same show at the same time.

In some sense, Archie Bunker for President: How One Television Show Remade American Politics is not only about how one television show remade American politics, but also about how All in the Family remade American television, opening up the networks to developing and airing television shows that integrate politics (of all kinds) into the narratives. There is still quite a lot of television, particularly network television, that is pitched to the broadest possible audience, but the narratives in police procedurals or hospital-centered series or sitcoms integrate different dimensions of politics into their storylines in ways that had not been done before All in the Family.

Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI.
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In The Refugee Aesthetic: Reimagining Southeast Asian America (Temple University Press, 2021), Timothy K. August centers Southeast Asian American writers and artists to develop a theory of refugee aesthetics as a way of considering how aesthetic forms are created and contested by refugees, nonrefugees, and institutions alike.
On this episode of New Books in Asian American Studies, Timothy K. August discusses the contradictions in how refugee stories are read as arising from exceptional circumstances even as the ever-increasing number of refugees renders refugeeness a remarkably everyday experience; the importance of aesthetics as a means by which refugees are able to contest—and reimagine—the refugee narratives that have been created through institutional and bureaucratic definitions of refugees; how refugee writers reconcile demands that they explain their experiences or perform their humanity within their own art and writing; and more.
The Refugee Aesthetic examines a range of literary and artistic works by refugees, including poems, novels, graphic novels, and visual art, by writers and artists including Bao Phi, Monique Truong, Viet Thanh Nguyen, Mohsin Hamid, Gia-Bao Tran, and more, to argue for the agency of refugees as cultural producers who are redefining a politically, bureaucratically produced refugee image and instead imagining a plural form of refugee aesthetics.
Please note that this episode was recorded prior to the events of October 7, 2023.
Timothy August is an Associate Professor of English at Stony Brook University.
Jennifer Gayoung Lee is a writer and researcher based in New York City.
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