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This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the British visual imagination. Chang brings together an unusual group of primary sources to investigate how nineteenth-century Britons looked at and represented Chinese people, places, and things, and how, in the process, ethnographic, geographic, and aesthetic representations of China shaped British writers' and artists' vision of their own lives and experiences. For many Britons, China was much more than a geographical location; it was also a way of seeing and being seen that could be either embraced as creative inspiration or rejected as contagious influence. In both cases, the idea of China's visual difference stood in negative contrast to Britain's evolving sense of the visual and literary real. To better grasp what Romantic and Victorian writers, artists, and architects were doing at home, we must also understand the foreign "objects" found in their midst and what they were looking at abroad.
This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the modern British visual imagination through a study of gardens, blue and white willow plates, the opium den, and the photograph, and literary texts.
This anthology by Roland Barthes is a reflection on his travels to Japan in the 1960s. In twenty-six short chapters he writes about his encounters with symbols of Japanese culture as diverse as pachinko, train stations, chopsticks, food, physiognomy, poetry, and gift-wrapping. He muses elegantly on, and with affection for, a system "altogether detached from our own." For Barthes, the sign here does not signify, and so offers liberation from the West's endless creation of meaning. Tokyo, like all major cities, has a center--the Imperial Palace--but in this case it is empty, "both forbidden and indifferent ... inhabited by an emperor whom no one ever sees." This emptiness of the sign is pursued throughout the book, and offers a stimulating alternative line of thought about the ways in which cultures are structured.
The Education of the Eye examines the origins of visual culture in eighteenth-century Britain, setting out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look.
First published in 1958. This volume translates and places in the appropriate historical context a number of private documents, such as diaries, autobiographies and confessions, which explain what the Opium War felt like on the Chinese side.
Britain’s relationship with China in the nineteenth and early twentieth century is often viewed in terms of gunboat diplomacy, unequal treaties, and the unrelenting pursuit of Britain’s own commercial interests. This book, however, based on extensive original research, demonstrates that in Britain after the First World War a combination of liberal, Labour party, pacifist, missionary and some business opinion began to argue for imperial retreat from China, and that this movement gathered sufficient momentum for a sympathetic attitude to Chinese demands becoming official Foreign Office policy in 1926. The book considers the various strands of this movement, relates developments in Britain to the changing situation in China, especially the rise of nationalism and the Guomindang, and argues that, contrary to what many people think, the reassertion of China’s national rights was begun successfully in this period rather than after the Communist takeover in 1949.
The definitive account of the wartime history of Hong Kong On Christmas Day 1941 the Japanese captured Hong Kong, and Britain lost control of its Chinese colony for almost four years, a turning point in the process by which the British were to be expelled from the colony and from East Asia. This book unravels for the first time the dramatic story of the Japanese occupation and reinterprets the subsequent evolution of Hong Kong. "Magnificent. . . . The clarity of mind Snow brings to his labor of storytelling and contextualizing is] amazing."--John Lanchester, Daily Telegraph "Beautifully written, with many telling anecdotes."--Lawrence D. Freedman, Foreign Affairs "Very good. . . . Provides] a much more nuanced picture than has appeared before in English of life among Hong Kong's different communities before and during the Japanese occupation."--Economist
An annotated collection of essential texts written by European observers from the thirteenth to the nineteenth centuries, Ideas of Chinese Gardens chronicles the evolution of Western perceptions of gardens of China, from curiosity to admiration and ultimately to rejection, echoing the changes in European attitudes toward China.
The first major cultural study to focus exclusively on this decisive period in modern British-Chinese relations. Based on extensive archival investigations, Peter J. Kitson shows how British knowledge of China was constructed from the writings and translations of a diverse range of missionaries, diplomats, travellers, traders, and literary men and women during the Romantic period. The new perceptions of China that it gave rise to were mediated via a dynamic print culture to a diverse range of poets, novelists, essayists, dramatists and reviewers, including Jane Austen, Thomas Percy, William Jones, S. T. Coleridge, George Colman, Robert Southey, Charles Lamb, William and Dorothy Wordsworth and others, informing new British understandings and imaginings of China on the eve of the Opium War of 1839–42. Kitson aims to restore China to its true global presence in our understandings of the culture and literature of Britain in the late eighteenth and early nineteenth centuries.
Creating the Opium War examines British imperial attitudes towards China during their early encounters from the Macartney embassy to the outbreak of the Opium War – a deeply consequential event which arguably reshaped relations between China and the West in the next century. It makes the first attempt to bring together the political history of Sino-western relations and the cultural studies of British representations of China, as a new way of explaining the origins of the conflict. The book focuses on a crucial period (1792–1840), which scholars such as Kitson and Markley have recently compared in importance to that of American and French Revolutions. By examining a wealth of primary materials, some in more detail than ever before, this study reveals how the idea of war against China was created out of changing British perceptions of the country.