書系名稱：East-West Cultural Encounters in Literature & Cultural StudiesTHE TAO OF S is an engaging study of American racialization of Chinese and Asians, Asian American writing, and contemporary Chinese cultural production, stretching from the nineteenth century to the present. Sheng-mei Ma examines the work of nineteenth-century “Sinophobic” American writers, such as Bret Harte, Jack London, and Frank Norris, and twentieth-century “Sinophiliac” authors, such as John Steinbeck and Philip K. Dick, as well as the movies Crazy Rich Asians and Disney’s Mulan and a host of contemporary Chinese authors, to illuminate how cultural stereotypes have swung from fearmongering to an overcompensating exultation of everything Asian. Within this framework Ma employs the Taoist principle of yin and yang to illuminate how roles of the once-dominant American hegemony—the yang—and the once-declining Asian civilization—the yin—are now, in the twenty-first century, turned upside down as China rises to writ
A trail-blazing political reformer and visionary thinker at the turn of the 20th century, Kang Youwei (1858–1927) envisioned a global utopia of human equality and solidarity. However, his advocacy of
A Contemporary History of the Chinese Zheng traces the twentieth- and twenty-first-century development of an important Chinese musical instrument in greater China.The zheng was transformed over the course of the twentieth century, becoming a solo instrument with virtuosic capacity. In the past, the zheng had appeared in small instrumental ensembles and supplied improvised accompaniments to song. Zheng music became a means of nation-building and was eventually promoted as a marker of Chinese identity in Hong Kong. Ann L. Silverberg uses evidence from the greater China area to show how the narrative history of the zheng created on the mainland did not represent zheng music as it had been in the past. Silverberg ultimately argues that the zheng’s older repertory was poorly represented by efforts to collect and promote zheng music in the twentieth century. This book contends that the restored “traditional Chinese music” created and promulgated from the 1920s forward—and solo zheng music in
"You will put down this insightful book with a much deeper understanding of two of the more indispensable topics of the twenty-first century: China and sound financial practices." -- Jon Huntsman, Jr.
During the eighteenth century, China's new Manchu rulers consolidated their control of the largest empire China had ever known. In this book Susan Naquin and Evelyn S. Rawski draw on the most recent r
The English edition of Liu Lihong’s milestone work is a sublime beacon for the profession of Chinese medicine in the 21st century. Classical Chinese Medicine delivers a straightforward critique of the
In Staging the World Rebecca E. Karl rethinks the production of nationalist discourse in China during the late Qing period, between China’s defeat in the Sino-Japanese War in 1895 and the procl
An exceptional contribution to the teaching and study of Chinese thought, this anthology provides fifty-eight selections arranged chronologically in five main sections: Han Thought, Chinese Buddhism,
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during th
Since Christianity was re-introduced to China in the early nineteenth century, Chinese Christianity has undergone a holistic “transfiguration” which both truthfully restores ante-Nicene Christianity a
This work is a classic in the study of twentieth-century Chinese fiction. C. T. Hsia delved into the works of important writers such as Lu Hsün, Pa Chin, Lao Shê, Eileen Chang and Ch’ien Chung-shu. In
China―Art―Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during th
This book contains analysis of different domains of contemporary art in China seen through the lens of the epistemological changes described in China Pluperfect I: Epistemology of Past and Outside in Chinese Art.It first looks at the concept of “ink art,” describing how it meant different things to different people in the former colony and how these different meanings came to determine certain institutional choices made at the beginning of the 21st century. The following chapters are dedicated to issues related to the urban and rural contexts for art creation in Mainland China and Hong Kong. One chapter observes the ups and downs of the representations of cities in the history of the People’s Republic of China and how they have defined a certain idea of culture. Another looks at how Chinese cities have been exceptional centers of art creations over the last thirty to forty years through the example of Shenzhen where a vibrant art scene, albeit closely connected to Hong Kong which has b
Initially based on a comparative study of Chinese and Euro-American art theory in the 18th and 19th centuries, this book examines how both cultures looked at their own past and their outside, i.e. what was construed as not belonging to their own cultural sphere, and how they devised new ways of adapting them into evolving cultural constructs.While the 17th century was still a time when the epistemological backgrounds of both civilizations were so profoundly different that nearly no dialogue was possible, the 18th century saw the emergence in both places of profound changes that would get them close enough to create the conditions for the beginning of a conversation. First quite superficial and taking shape mostly in the decorative arts, this process of rapprochement, while remaining chaotic and unpredictable, led to wider and more profound zones of contact throughout the late 19th and 20th centuries. Through the reinterpretations of each other’s cultural creations, these zones of conta
