China Studies

Edited by Simona Gallo and Martina Codeluppi, Mother Tongues and Other Tongues: Creating and Translating Sinophone Poetry analyzes contemporary translingual Sinophone poetry and discusses its creative processes and translational implications, along with their intersections.

How do self-translation and other translingual practices mold the Sinophone poetic field? How and why do contemporary Sinophone writers produce (new) lyrical identities in and through translation? How do we translate contemporary Sinophone poetry? By addressing such questions, and by bringing together scholars, writers, and translators of poetry, this volume offers unique insights into Sinophone Studies, while sparking a transdisciplinary dialogue with Poetry Studies, Translation Studies and Cultural Studies.

In the early twentieth century, the first large batch of Chinese civil engineers had graduated from the USA, and together with their American senior colleagues returned to China. They were enthusiastic about reconstructing the young republic by building new railways, highways, and canals, but what the engineers experienced in China, including mismanaged railways, useless highways, and silted canals, did not always meet their expectations and ideals. In this book, Thorben Pelzer makes the stories of these Chinese and American engineers come to life through exploring previously unpublished letters, rare images, maps, and a rich biographical dataset. He argues that the experiences of these engineers include a myriad of contradictions, disillusionment, and discontent, keeping the engineering profession in a constant flux of searching for its meaning and its place in Republican China.

In this book, Xuduo Zhao revisits the early twentieth-century Chinese revolution by focusing on two forgotten Cantonese socialists: Chen Gongbo and Tan Pingshan. By analyzing a host of previously untapped primary sources, Zhao discovers a social democratic approach within the newly founded Chinese Communist Party and argues that its decline marked a key moment in the Chinese communist movement.

The study of these two figures, and the ebbs and flows of their lives, reflects and reveals the fundamental tensions in the Chinese revolution which have shaped China’s political trajectory to contemporary times and the broader political, social, and cultural landscapes of Republican China.

Beyond Citizenship focuses on the role of literacy in building a modern nation-state by examining the government provision of adult literacy training in early twentieth-century China. Based on untapped archives and diaries, Di Luo uncovers people’s strategic use of literacy and illiteracy in social interactions and explores the impact of daily experiences on the expansion of state power. Highlighting interpersonal and intergroup relations, Beyond Citizenship suggests a new methodology of studying literacy which foregrounds the agentive role of historical actors and so moves away from a more traditional approach that treats literacy itself as the key factor enabling social change.

Through an innovative interdisciplinary reading and field research, Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profound transformation of modern Chinese culture between the 18th century and 1950s. He investigates the complex path of opera over this course of history: exiting the temple festivals, becoming a public obsession on commercial stages, and finally being harnessed to partisan propaganda work. The book analyzes the process of cross-regional integration of Chinese culture and the emergence of the national opera genre. Moreover, opera is shown as an example of the culture wars that raged inside China’s popular culture.

Why has China’s authoritarian government under Xi Jinping retained popular support without political reforms? Drawing on Chinese social media data, in this book Titus C. Chen argues that China’s digital propaganda and information control techniques--the monopolistic exercise of market authoritarianism--have empowered the Xi administration to manipulate public discourse and shape public opinion via social media. Chen argues that these techniques forge a sense of community and unite the general public under the Chinese government, thereby legitimating autocratic rule. By enhancing our understanding of China’s digital ideological statecraft, the book makes a major contribution to the fields of China Studies and Political Communication.

Sabrina Ardizzoni’s book is an in-depth analysis of Hakka women in tulou villages in Southeast China. Based on fieldwork, data acquired through local documents, diverse material and symbolic culture elements, this study adopts an original approach that includes historical-textual investigation and socio-anthropological enquiry. Having interviewed local Hakka women and participated in rural village events, public and private, in west Fujian’s Hakka tulou area, the author provides a comprehensive overview of the historical threads and cultural processes that lead to the construction of the ideal Hakka woman, as well as an insightful analysis of the multifaceted Hakka society in which rural women reinvent their social subjectivity and negotiate their position between traditional constructs and modern dynamics.

Sandra Gilgan’s Utopia in the Revival of Confucian Education examines the classics-reading movement in contemporary China as not only driven by attraction to certain elements of tradition, but even more by caesuras in the past that caused people to detach from their cultural roots. The author argues that activism in the classics-reading movement arises from an entanglement of past, present, and future. Social and political upheaval in the near past of the twentieth century caused people to disconnect from their traditional culture and ways of living, resulting in the present need to reconnect with perceived “original” culture and tradition from the more distant past. Through peoples’ imaginaries of a better future that are informed by past traditions, new ways of the past find entrance into life and education in study halls and academies. This new study draws on multi-sited ethnographic field research in ten Chinese cities, with the broadest database currently available. It combines theoretical elements from anthropology, history, sociology and sinology in a grounded theory approach. As an interdisciplinary study, the book is of interest for academics in Asian and Chinese studies, heritage and memory studies, religious studies, educational sciences, history, and cultural anthropology, as well as social and political sciences.

This book explores the overexploitation of river-sand and its impact on Zhuang communities in China. A topical phenomenon, the book engages with the concept of authoritarian environmental management through a detailed analysis of state laws and policies on river-sand mining. Additional rich ethnographic material shows that riverfront Zhuang villagers and their indigenous ecological knowledge cannot compete with government policy, economic forces, and development trends in gaining control over river sand governance. This book provides appealing case studies in the interdisciplinary field of political ecology. As an example of "anthropology of home", it is of specific methodological interest.

This book centers on the changes of polders and investigates the complex hydro-social relationships of the Jianghan Plain in late imperial China. Once a “hydraulic frontier” where local communities managed the polders, the Jianghan Plain became a state-led hydro-electric powerhouse by the mid-twentieth century. Through meticulous historical analysis, this book shows how water politics, cultural practice, and ecology interplayed and transformed the landscape and waterscape of the plain from a long-term perspective. By touching on topics such as religious beliefs, ethnic tension and militarization, the author reveals a plain in between nature and culture that has never been fully examined before.

In Intoxicating Shanghai, Paul Bevan explores the work of a number of Chinese modernist figures in the fields of literature and the visual arts, with an emphasis on the literary group the New-sensationists and its equivalents in the Shanghai art world, examining the work of these figures as it appeared in pictorial magazines. It undertakes a detailed examination into the significance of the pictorial magazine as a medium for the dissemination of literature and art during the 1930s. The research locates the work of these artists and writers within the context of wider literary and art production in Shanghai, focusing on art, literature, cinema, music, and dance hall culture, with a specific emphasis on 1934 – ‘The Year of the Magazine’.

In this exciting book, Ronald Suleski introduces daily life for the common people of China in the century from 1850 to 1950. They were semi-literate, yet they have left us written accounts of their hopes, fears, and values. They have left us the hand-written manuscripts (chaoben 抄本) now flooding the antiques markets in China. These documents represent a new and heretofore overlooked category of historical sources.
Suleski gives a detailed explanation of the interaction of chaoben with the lives of the people. He offers examples of why they were so important to the poor laboring masses: people wanted horoscopes predicting their future, information about the ghosts causing them headaches, a few written words to help them trade in the rural markets, and many more examples are given. The book contains a special appendix giving the first complete translation into English of a chaoben describing the ghosts and goblins that bedeviled the poor working classes.

In From Accelerated Accumulation to Socialist Market Economy in China, Kjeld Erik Brødsgaard and Koen Rutten examine China’s indigenous economic discourse and its relation to both economic policy-making and the overall trajectory of development from the First Five Year Plan in 1953 to 2016. In so doing, this volume demonstrates that although the form of the current economic system and its theoretical underpinnings bear scant resemblance to those of the planned economy, economic policy-making still relies on the principle of accelerated accumulation, which lay at the heart of the economic development project in the early years of the People’s Republic.

The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.

In Transcultural Lyricism: Translation, Intertextuality, and the Rise of Emotion in Modern Chinese Love Fiction, 1899–1925, Jane Qian Liu examines the profound transformation of emotional expression in Chinese fiction between the years 1899 and 1925. While modern Chinese literature is known to have absorbed narrative modes of Western literatures, it also learned radically new ways to convey emotions.

Drawn from an interdisciplinary mixture of literary, cultural and translation studies, Jane Qian Liu brings fresh insights into the study of intercultural literary interpretation and influence. She convincingly proves that Chinese writer-translators in early twentieth century were able to find new channels and modes to express emotional content through new combinations of traditional Chinese and Western techniques.

“When thinking about modern China’s chemical industry, forget not Fan Xudong,” so declared Mao Zedong publicly after 1949. Although Mao might have united front politics in mind when invoking Fan as a paragon of the national bourgeoisie, why would the chairman praise a champion of private enterprise? How did Fan Xudong and his colleagues build Yongli from scratch into one of the largest industrial conglomerates in modern China amid predatory foreign competition and domestic strife? What were his secrets of success? Drawing from company documents, government archives, and personal correspondences, this book traces Yongli’s birth, growth, nationalization, and how Fan and his colleagues pursued a third path of national development between for-profit private enterprise and state ownership.

Michael Loewe calls on literary and material evidence to examine three problems that arose in administering China’s early empires. Religious rites due to an emperor’s predecessors must both pay the correct services to his ancestors and demonstrate his right to succeed to the throne. In practical terms, tax collectors, merchants, farmers and townsmen required the establishment of a standard set of weights and measures that was universally operative and which they could trust. Those who saw reason to criticise the decisions taken by the emperor and his immediate advisors, whether on grounds of moral principles or political expediency, needed opportunities and the means of expressing their views, whether as remonstrants to the throne, by withdrawal from public life or as authors of private writings.

In Muslim Sanzijing, Shifts and Continuities in the Definition of Islam in China (1710-2010) Roberta Tontini traces the development of Islam and Islamic law in the country, while responding to two enduring questions in China’s intellectual history: How was the Muslim sharia reconciled with Confucianism? How was knowledge of Islamic social and ritual norms popularized to large segments of Chinese Muslim society even in periods of limited literacy?

Through a comprehensive study that includes a rigorous analysis of popular Chinese Islamic primers belonging to the Sanzijing tradition, Tontini offers fresh insights on the little known intellectual and legal history of Islam on Chinese soil to convincingly demonstrate its evolving quality in response to changing social norms.

Singing on the River by Igor Chabrowski, based on Sichuan boatmen’s work songs (haozi), explores the little known world of mentality and self-representation of Chinese workers from the late 19th century until the outbreak of the Second Sino-Japanese War (1937). Chabrowski demonstrates how river workers constructed and interpreted their world, work, and gender in context of the dissolving social, cultural, and political orders. Boatmen asserted their own values, bemoaned exploitation, and imagined their sexuality largely in order to cope with their low social status. Through studying the Sichuan boatmen we gain an insight into the ways in which twentieth-century nonindustrial Chinese workers imagined their place in the society and appropriated, without challenging them, the traditional values.

The Dragon Takes Flight: China's Aviation Policy, Achievements, and International Implications analyzes China’s journey toward the development of its C-919 large passenger aircraft. Through the use of primary sources in English and Chinese, including interviews with important players in China’s aviation industry, Levine builds on Michael Porter’s Diamond Model to explore the underlying question of whether or not China will successfully develop a competitive large passenger aircraft. The model serves as a blueprint for determining what China is doing right and what areas need to improve.

This study also looks at the potential implications the success of the C-919 may have on Boeing and Airbus and the ways in which both companies might prepare to meet the challenges they face.

In Struggle by the Pen, Ondřej Klimeš explores the emergence of national consciousness and nationalist ideology of Uyghurs in Xinjiang from c. 1900-1949. Drawing from texts written by modern Uyghur intellectuals, politicians and propagandists throughout this period, he identifies diverse types of Uyghur discourse on the nation and national interest, and traces the emergence and construction of modern Uyghur national identity.

The author also demonstrates that the modern Uyghur intelligentsia regarded political emancipation and social modernization as the two most important interests of their nation, and that they envisaged Uyghurs as citizens of a modern republican state founded on the principles of representative government. This book thus presents a new perspective on Uyghur intellectual history and on Republican Xinjiang.

In Shanghai Filmmaking, Huang Xuelei invites readers to go on an intimate, detailed, behind-the-scenes tour of the world of early Chinese cinema. She paints a nuanced picture of the Mingxing Motion Picture Company, the leading Chinese film studio in the 1920s and 1930s, and argues that Shanghai filmmaking involved a series of border-crossing practices.

Shanghai filmmaking developed in a matrix of global cultural production and distribution, and interacted closely with print culture and theatre. People from allegedly antagonistic political groupings worked closely with each other to bring a new form of visual culture and a new body of knowledge to an audience in and outside China. By exploring various border crossings, this book sheds new light on the power of popular cultural production during China’s modern transformation.

The first of its kind, this collection of critical essays opens up new venues in the comparative study of science and culture by focusing on the formative decades of modern China in the late nineteenth and first half of the twentieth century. It provides a wide-ranging examination of the cultural and intellectual history of science and technology in modern China.From anti-imperialism to the technology of Chinese writing, the commodification of novelties to the rise of the modern professional scientist, new lexica and appropriations of the past, the contributors map out a transregional and global circuitry of modern knowledge and practical know-how, nationalism and the amalgamation of new social practices.
Contributors include: Iwo Amelung, Fa-ti Fan, Shen Guowei, Danian Hu, Joachim Kurtz, Eugenia Lean, Thomas S. Mullaney, Hugh Shapiro, Grace Shen, and Jing Tsu.

Print, Profit, and Perception examines the dynamic cross-cultural exchanges occurring in China and Taiwan from the first Sino-Japanese War to the mid-twentieth century. Drawing examples from various genres, this interdisciplinary volume presents nine empirically grounded case studies on the growth in the production, dissemination and consumption of texts, which lay behind a dramatic expansion of knowledge. The chapters collectively address the co-existence of globalization and localization processes in the period. By taking into account intra-Asian cultural encounters and tracing the multiple competing forces encountered by many, this book offers a fresh and compelling take on how individuals and social groups participated in transnational conceptual flows.

Contributors include: Paul Bailey, Che-chia Chang, Elizabeth Emrich, Tze-ki Hon, Max K.W. Huang, Mei-e Huang, Mike Shi-chi Lan, Pei-yin Lin, and Weipin Tsai.

In the 1920s and 1930s most Chinese people suffered from overwhelming health problems. Epidemic diseases killed tens of millions, drought, flood and famine killed many more, and unhygienic birthing led to serious maternal and child mortality. The Civil War between Nationalist and Communist forces, and the nationwide War of Resistance against Japan (1937-1945), imposed a further tide of misery.

Troubled by this extensive trauma, a small number of healthcare reformers were able to save tens of thousands of lives, promote hygiene and sanitation, and begin to bring battlefield casualties, communicable diseases, and maternal child mortality under control. This study shows how biomedical physicians and public health practitioners were major contributors to the rise of modern China.

In Signifying the Local, Jin Liu examines contemporary cultural productions rendered in local languages and dialects (fangyan) in the fields of television, cinema, music, and literature in Mainland China. This ground-breaking interdisciplinary research provides an account of the ways in which local-language media have become a platform for the articulation of multivocal, complex, and marginal identities in post-socialist China. Viewed from the uniquely revealing perspective of local languages, the mediascape of China is no longer reducible to a unified, homogeneous, and coherent national culture, and thus renders any monolithic account of the Chinese language, Chineseness, and China impossible.

In Fragmenting Modernisms, Carolyn FitzGerald traces the evolution of Chinese modernism during the War of Resistance against Japan (1937-45) and Chinese Civil War (1945-49) through a series of close readings of works of fiction, poetry, film, and visual art, produced in various locations throughout wartime China.

Showing that the culture of this period was characterized by a high degree of formal looseness, she argues that such aesthetic fluidity was created in response to historical conditions of violence and widespread displacement. Moreover, she illustrates how the innovative formal experiments of uprooted writers and artists expanded the geographic and aesthetic boundaries of Chinese modernism far beyond the coastal cities of Shanghai and Beijing.

How does China project its image in the world? Why and how has the world come to form certain impressions of the Chinese and their way of life? These are issues that preoccupy Chinese citizens in the globalizing 21st century as they travel overseas, riding on the capacity of the country’s newly acquired economic power. In Visualizing China, the authors join forces to launch a broader inquiry aimed at a synergistic understanding of the larger story of visuality in modern China. The essays cluster around several nodal points including photographs, advertising, posters and movies, spanning from the 1840s to the 1960s, and devote special attention to modern Chinese practices in the visualization of things Chinese.

Visual Political Communication in Popular Chinese Television Series has been granted the EastAsiaNet 2014 Award!

In Visual Political Communication in Popular Chinese Television Series, Florian Schneider analyses political discourses in Chinese TV dramas, the most popular entertainment format in China today. Schneider shows that despite their often nationalistic stories of glorious emperors and courageous officials, such programmes should not be mistaken for official propaganda. Instead, the highly didactical messages of such series are the outcome of complex cultural governance practices, which are influenced by diffuse political interests, commercial considerations, viewing habits, and ideological assumptions. Schneider argues that these interlinking factors lead to a highly restrictive creative environment and to conservative entertainment content that ultimately risks creating precisely the kind of passive masses that Chinese media workers and government officials are trying so hard to emancipate.

Generations of Chinese scholars have made China synonymous with the Great Wall and presented its civilization as fundamentally land-bound. This volume challenges this perspective, demonstrating that China was not a “Walled Kingdom”, certainly not since the Yongjia Disturbance in 311. China reached out to the maritime world far more actively than historians have acknowledged, while the seas and what came from the seas—from Islam, fragrances and Jesuits to maize, opium and clocks—significantly changed the course of history, and have been of inestimable importance to China since the Ming. This book integrates the maritime history of China, especially the Qing period, a subject which has hitherto languished on the periphery of scholarly analysis, into the mainstream of current historical narrative. It was the seas that made Tang China a “Cosmopolitan Empire” (Mark Lewis), the Song dynasty China’s “Greatest Age” (John Fairbank), China at 1600 “the largest and most sophisticated of all unified realms on earth” (Jonathan Spence), and the reign of the three Qing emperors (Kangxi, Yongzheng and Qianlong) China’s “last golden age” (Charles Hucker).

Intellectual developments of the Western Han dynasty (202 BCE – 9 CE) have been studied hitherto on the assumptions that a system described as ‘Confucianism’ acquired paramount importance and that Dong Zhongshu (ca. 198 to ca. 107 BCE) had been responsible for formulating its principles. In challenging these assumptions, this book examines Dong’ career and reputation, and his supposed authorship of the Chunqiu fanlu, for long subject to question. It is concluded that while some parts of that text may well represent the teachings that Dong Zhongshu promoted, some may perhaps date from as late as 79 CE; still others bear an affinity to writings which, banned as being suspect or potentially subversive, survive in no more than fragmentary form.

Did the Chinese Communists use money or banking systems during their struggle for national power? In the West, this question was not answered, or even raised, for sixty years after the Communists took over China in 1949. This book examines the Communists’ revenue and supply system during the Japanese occupation in Shandong, a coastal province in northern China. It explores how the Communists manipulated currency exchange rates to turn trade within the occupied zones into their principal source of revenue and transform the Japanese army and navy into their most important customers. Thus enabling them to stockpile the materials needed for the race against the Nationalists into Manchuria, China’s only industrialized area, immediately after Japan’s surrender.

In China the coexistence of arbitrary detention and a transition towards a rule of law is either seen as an oxymoron, or as an aberration. This book analyses under-researched institutions and practices in China’s criminal justice system, arguing that derogations from the rule of law constitute an organic component of the legal order. Hidden behind the law, there lies sovereign power, a power premised on the choice to handle certain issues through procedures that derogate from rights. This theoretically sophisticated study overcomes the current impasses in analyses of China’s criminal justice. The result is an highly innovative reading of law and legality in the PRC, useful to scholars of contemporary China, mainstream political theorists, philosophers of law and policy makers.

"This important book heralds a new chapter in the comparative study of Chinese law and society...it presents and analyses a tremendous wealth of information, above all from contemporary Chinese sources...[the book] provides a new basis for deeper comparisons of the emerging Chinese 'reforming Leninist' model with the 'rule of law' and its suspension in Western countries." - Magnus Fiskesjö, Cornell University

Based on a wide range of Western and local materials, this book offers an introduction to the historical anthropology of the Muslim Uyghur of Xinjiang from the late 19th century to 1949. The author argues that social relations in this era were shaped at all levels by the principles of reciprocity and community. Particular attention is paid to the domestic domain and to life-cycle and religious rituals. This is the first time that Xinjiang has been approached from the perspective of historical
anthropology. Giving substance to the concept of tradition which modern Uyghurs invoke when constructing their collective identity, Bellér-Hann's study also has implications for contemporary analyses of inter-ethnic relations in this sensitive region.

During the late Qing reform era (1895-1912), women for the first time in Chinese history emerged in public space in collective groups. They assumed new social and educational roles and engaged in intense debates about the place of women in China's present and future. These debates found expression in new media, including periodicals and pictorials, which not only harnessed the power of existing cultural forms but also encouraged experimentation with a variety of new literary genres and styles - works increasingly produced by and for Chinese women. Different Worlds of Discourse explores the reform period from three interrelated and comparatively neglected perspectives: the construction of gender roles, the development of literary genres, and the emergence of new forms of print media.

Twentieth century China has seen local societies undergo unprecedented transformations accompanied by a remarkable continuity in state practice. In this path-breaking study of two ethnically different communities, the matrilineal Mosuo and the patrilineal Han, in northwest Yunnan province, the author traces cultural change from a historical perspective in relation to the ecological environment and political systems. The treatment of state penetration into local society challenges the conventional binary narratives of state-society and Han/non-Han relations. With its interdisciplinary approach, the book enriches the anthropology of China by framing ethnicity issues in terms of local politics and inter-relationships between levels of government, and at the same time extends the analytical perimeter of the study of the Chinese state to the national periphery.

Chinese literature has traditionally been divided by both theorists and university course providers into ‘classical’ and ‘modern.’ This has left nineteenth-century fiction in limbo, and allowed negative assessments of its quality to persist unchecked. The popularity of Qing dynasty red-light fiction – works whose primary focus is the relationship between clients and courtesans, set in tea-houses, pleasure gardens, and later, brothels – has endured throughout the twentieth century. This volume explores why, arguing that these novels are far from the ‘low’ work of ‘frustrated scholars’ but in their provocative play on the nature of relations between client, courtesan and text, provide an insight into wider changes in understandings of self and literary value in the nineteenth century.

This study draws together various elements in late Ming culture – illustration, theater, literature – and examines their interrelation in the context of the publication of drama. It examines a late Ming conception of the stage as a mystical space in which the past was literally reborn within the present. This temporal conflation allowed the past to serve as a vigorous and immediate moral example and was considered a hugely important mechanism by which the continuity of the Confucian tradition could be upheld.
By using theatrical conventions of stage arrangement, acting gesture, and frontal address, drama illustration recreated the mystical character of the stage within the pages of the book, and thus set the conflation of past and present on a broader footing.

Drawing on largely local sources, including local gazetteers and literati inscriptions for religious sites, this book offers a comprehensive examination of what it means to be 'local' during the Southern Song, Yuan and Ming dynasties in Ji'an prefecture (Jiangxi). It argues that 'belonging locally' was important to Ji'an literati throughout this period. How they achieved that, however, changed significantly. Southern Song and Yuan literati wrote about religious sites from within their local communities, but their early Ming counterparts wrote about local temples from their posts at the capital, seeking to transform local sites from a distance. By the late Ming, temples had been superseded by other sites of local activism, including community compacts, lineage prefaces, and community covenants.

This book is a cross-cultural, interdisciplinary study which compares responses to modernity in the literary cultures of Japan and Taiwan, 1960-1990. Moving beyond the East-West framework that has traditionally dominated comparative enquiry, the volume sets out to explore contemporary East Asian literature on its own terms. As such, it belongs to the newly emerging area of inter-Asian cultural studies, but is the first full-length monograph to explore this field through the prism of literature. The book combines close readings of paradigmatic texts with in-depth analysis of the historical, social, and ideological contexts in which these works are situated, and explores the form and function of literary practice within the “miracle” societies of industrialized East Asia.

This socio-political analysis of the Chinese Academy of Social Sciences (CASS) sheds new light on the link between China’s educational reforms and the ideological control exerted by the Party-state. It explores the dynamics of the ways in which the academic community has carved out and utilised the spaces between the academic and Party leadership and the free will of the individual. By differentiating between various forms of power, the author shows how knowledge produced at CASS is influenced not only as a direct result of top-down decisions-making but also unintentionally through organizational networks that interlock both leaders and led in the institutions they helped shape. Administrative tools and symbolic representation in official ceremony are shown to be indispensable for an adequate understanding of the generation of knowledge at CASS. With financial support of the International Institute for Asian Studies (www.iias.nl).

This groundbreaking volume opens a new window on both modern and traditional Chinese literature, history and popular culture, demonstrating how a new style of reading brings us—the modern reader—closer to understanding how Chinese citizens perceived their world and what their writings reveal about the culture that produced them.
Following the pioneering work of Professor Glen Dudbridge, this book brings together eight studies that develop a new style of reading Chinese sources by exploring the dynamics of discourse across open boundaries: those of fiction and history, literary and non-literary sources, official and vernacular culture, prose and poetry, records past and present, lost and extant, vernacular and classical, traditional and modern. Each chapter discusses how authors, editors and publishers use representation, editing and selection as means of self-fashioning and political propaganda.

This richly illustrated book provides a glimpse into the belief system and the material wealth of the social elite in pre-Imperial China through a close analysis of tomb contents and excavated bamboo texts.
The point of departure is the textual and material evidence found in one tomb of an elite man buried in 316 BCE near a once wealthy middle Yangzi River valley metropolis. Particular emphasis is placed on the role of cosmological symbolism and the nature of the spirit world. The author shows how illness and death were perceived as steps in a spiritual journey from one realm into another. Transmitted textual records are compared with excavated texts. The layout and contents of this multi-chambered tomb are analyzed as are the contents of two texts, a record of divination and sacrifices performed during the last three years of the occupant’s life and a tomb inventory record of mortuary gifts. The texts are fully translated and annotated in the appendices.
A first-time close-up view of a set of local beliefs which not only reflect the larger ancient Chinese religious system but also underlay the rich intellectual and artistic life of pre-Imperial China.
With first full translations of texts previously unknown to all except a small handful of sinologists.

Dealing with the central issue of style in literature, this groundbreaking study is a must for sinologists, but also for all students of comparative literature.
Michel Hockx takes as a point of departure the observation that most writers of the Republican period adhered to a distinctly traditional practice of gathering in literary societies, while at the same time displaying a marked preference for publishing their works through the modern medium of the literary journal.
The first part of the book analyses different types of societies and their journals. The case studies in part two convey the wider impact of literary collectives and journal publications on literary practice.
Convincingly breaking with the 'May Fourth' paradigm, the author proposes a radically new way of understanding the relationship between New Literature and other styles of modern Chinese writing.