Böcker i Global Chinese Culture-serien

Since the 1990s, Chinese literary enthusiasts have explored new spaces for creative expression online, giving rise to a modern genre that has transformed Chinese culture and society. Ranging from the self-consciously avant-garde to the pornographic, web-based writing has introduced innovative forms, themes, and practices into Chinese literature and its aesthetic traditions. Conducting the first comprehensive survey in English of this phenomenon, Michel Hockx describes in detail the types of Chinese literature taking shape right now online and their novel aesthetic, political, and ideological challenges. Offering a unique portal into postsocialist Chinese culture, he presents a complex portrait of internet culture and control in China that avoids one-dimensional representations of oppression. The Chinese government still strictly regulates the publishing world, yet it is growing increasingly tolerant of internet literature and its publishing practices while still drawing a clear yet ever-shifting ideological bottom line. Hockx interviews online authors, publishers, and censors, capturing the convergence of mass media, creativity, censorship, and free speech that is upending traditional hierarchies and conventions within China-and across Asia.

This book brings together leading scholars to provide new perspectives on one of the most traumatic episodes in Taiwan's modern history and its fraught legacies. Contributors from a variety of disciplines revisit the Musha Incident and its afterlife in history, literature, film, art, and popular culture.

This book brings together leading scholars to provide new perspectives on one of the most traumatic episodes in Taiwan's modern history and its fraught legacies. Contributors from a variety of disciplines revisit the Musha Incident and its afterlife in history, literature, film, art, and popular culture.

In recent decades Taiwan has increasingly come to see itself as a modern nation-state. A-chin Hsiau traces the origins of Taiwanese national identity to the 1970s, when a surge of domestic dissent and youth activism transformed society, politics, and culture in ways that continue to be felt.

Sebastian Veg explores the rise of minjian-unofficial, unaffiliated, and among the people-intellectuals and how they have profoundly transformed China's public culture. Minjian documents how, amid deep structural shifts, grassroots thinker-activists began to work outside academia or policy institutions in an embryonic public sphere.

Fashion Media and Consumer Culture in Contemporary China.

Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture.

In the dazzling global metropolis of Shanghai, what has it meant to call this city home? In this account-part microhistory, part memoir-Jie Li salvages intimate recollections by successive generations of inhabitants of two vibrant, culturally mixed Shanghai alleyways from the Republican, Maoist, and post-Mao eras. Exploring three dimensions of private life-territories, artifacts, and gossip-Li re-creates the sounds, smells, look, and feel of home over a tumultuous century. First built by British and Japanese companies in 1915 and 1927, the two homes at the center of this narrative were located in an industrial part of the former "e;International Settlement."e; Before their recent demolition, they were nestled in Shanghai's labyrinthine alleyways, which housed more than half of the city's population from the Sino-Japanese War to the Cultural Revolution. Through interviews with her own family members as well as their neighbors, classmates, and co-workers, Li weaves a complex social tapestry reflecting the lived experiences of ordinary people struggling to absorb and adapt to major historical change. These voices include workers, intellectuals, Communists, Nationalists, foreigners, compradors, wives, concubines, and children who all fought for a foothold and haven in this city, witnessing spectacles so full of farce and pathos they could only be whispered as secret histories.

Lily Wong studies the transpacific mobility and mobilization of the sex worker figure, illuminating the intersectional politics of racial, sexual, and class structures. Transpacific Attachments examines shifting depictions of Chinese sex workers in popular media from the early twentieth century to the present.

Drawing on secondary theoretical material as well as her own original research, the author conducts an analysis of the political, narrative, and ideological structures involved in the fictional and cinematic representations of the 2/28 Incident and White Terror.

Offers a collection of interviews with the directors who have changed the face of Chinese and international cinema. This book includes discussions with such directors as Ang Lee ("Crouching Tiger", "Hidden Dragon"), Zhang Yimou ("Hero"), Chen Kaige ("Farewell My Concubine"), Stanley Kwan ("Lan Yu"), and Tsai Ming-Liang ("Vive l'Amour").

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's City of Sadness and Lou Ye's Summer Palace and novels such as Ye Zhaoyan's Nanjing 1937: A Love Story and Wang Xiaobo's The Golden Age collectively reimagine past horrors and give rise to new historical narratives.Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incident (1930); the Rape of Nanjing (1937-38); the February 28 Incident (1947); the Cultural Revolution (1966-76); Tiananmen Square (1989); and the Handover of Hong Kong (1997). He identifies two primary modes of restaging historical violence: centripetal trauma, or violence inflicted from the outside that inspires a reexamination of the Chinese nation, and centrifugal trauma, which, originating from within, inspires traumatic narratives that are projected out onto a transnational vision of global dreams and, sometimes, nightmares. These modes allow Berry to connect portrayals of mass violence to ideas of modernity and the nation. He also illuminates the relationship between historical atrocity on a national scale and the pain experienced by the individual; the function of film and literature as historical testimony; the intersection between politics and art, history and memory; and the particular advantages of modern media, which have found new means of narrating the burden of historical violence. As Chinese artists began to probe previously taboo aspects of their nation's history in the final decades of the twentieth century, they created texts that prefigured, echoed, or subverted social, political, and cultural trends. A History of Pain acknowledges the far-reaching influence of this art and addresses its profound role in shaping the public imagination and conception-as well as misconception-of modern Chinese history.

New communication and information technologies provide distinct challenges and possibilities for the Chinese script, which, unlike alphabetic or other phonetic scripts, relies on multiple signifying principles. In recent decades, this multiplicity has generated a rich corpus of reflection and experimentation in literature, film, visual and performance art, and design and architecture, within both China and different parts of the West.Approaching this history from a variety of alternative theoretical perspectives, Beyond Sinology reflects on the Chinese script to pinpoint the multiple connections between languages, scripts, and medial expressions and cultural and national identities. Through a complex study of intercultural representations, exchanges, and tensions, the text focuses on the concrete "e;scripting"e; of identity and alterity, advancing a new understanding of the links between identity and medium and a critique of articulations that rely on single, monolithic, and univocal definitions of writing.Chinese writing-with its history of divergent readings in Chinese and non-Chinese contexts, with its current reinvention in the age of new media and globalization-can teach us how to read and construct mediality and cultural identity in interculturally responsible ways and also how to scrutinize, critique, and yet appreciate and enjoy the powerful multi-medial creativity embodied in writing.