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Brings to life the visual culture of the "nightless city," late nineteenth-century Shanghai, through analyses of more than one hundred drawn depictions
Completely updated, China: Adapting the Past, Confronting the Future is the latest in a series of classroom units on China from the Center of Chinese Studies at The University of Michigan. It is not only ideal for courses on contemporary China but also an excellent supplement for courses in area studies, international affairs and economics, and women's studies. Each section, in addition to essay and excerpts, also includes a bibliography of additional topical works as well as suggestions for complementary video and internet teaching resources. Geography and History: Presents a broad sketch of Chinese history from earliest times and a detailed discussion of the forces that have shaped modern Chinese history. Geography sharpens the focus to China’s rich ecological and ethnic diversity. Politics: Addresses political issues in post-Tiananmen China, including corruption, human rights, US-China relations, democratic reform, and religious and political dissidents. Society: Examines contemporary social problems that have emerged in the post-Mao era, including divorce, migrant labor, family planning, problems facing Chinese women, and the proliferation of Chinese and Western religions. Economy: Assesses the post-Mao economy after twenty years of experimentation and reform, including development of private enterprises, income disparities, case studies in rural and urban economic development, and the prospects for future growth. Culture: Reviews 20th century Chinese literature, the intersection between politics and the arts, the explosion of popular culture, and changing visual culture in modern China. Future Trends: Explores the prospects for democratization, generational change in leadership, the direction of modernization, and China’s prospects for political liberalization.
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art. Art Worlds will be of interest to scholars of art history and to anyone with an interest in the cultural history of modern China. “By focusing on objects, sites, social networks, and technologies, this elegantly conceived book enriches our understanding of art production and consumption in nineteenth-century Shanghai. The author makes masterful use of newspapers, guidebooks, diaries, and advertisements—as well as paintings—to present readers with the compelling story of a city and its artists.” —Tobie Meyer-Fong, author of What Remains: Coming to Terms with Civil War in 19th Century China and Building Culture in Early Qing Yangzhou “Rich in findings, forensic in visual analysis and—not least—elegantly crafted, Wue’s book on painting, printing and the social worlds of art in late-Qing Shanghai is an exemplary contribution. A must-read volume.” —Shane McCausland, author of Zhao Mengfu: Calligraphy and Painting for Khubilai’s China
"This thesis investigates various representational modes and strategies in the Shanghai courtesan illustrations in Dianshizhai Pictorial. The aim of the study is to examine how Shanghai's early modern identity was imaged, imagined and contested through the courtesan figure. I argue that by establishing a new urban iconography, Dianshizhai Pictorial transformed the Shanghai courtesan from a traditional archetypical meiren to a universal image of the urban beauty. On the one hand, the modern city, previously an alien concept, was made familiar and acceptable through the image of the Shanghai courtesan. On the other hand, the ambivalence of the courtesan's new image mirrored a mixed feeling of fear, anxiety and disdain towards the emerging metropolis. The courtesan illustrations, hence, served as an important domain where different public understandings of the city were negotiated and expressed in pictorial terms." --
My research comparatively examines two illustrated publications from the19th century ---Dianshizhai Pictorial which was published in Shanghai between 1884 and 1898 and Harper's Weekly which was published in New York between 1857-1912 --- as cultural artifacts of their time, and reveals their historic dynamics in the late 19th century East-West encounter. Texts and images chosen for analysis from Harper's Weekly and Dianshizai Pictorial are the primary data of my research. I seek to understand text and images as symbolic phenomena and trace their social role, effects and meanings. These data are to be situated and analyzed in the specific contexts of late 19th century US and China. For Dianshizai Pictorial, my research specifically focuses on the representation of the West and Western peoples and investigates the social-cultural dynamics behind the complex attitudes and sentiments expressed toward China's interaction with the West. For Harper's Weekly, my research focuses on China and Chinese-related images and texts. It examines the representation of China and Chinese people in the magazine over a 40-year time period (1860-1900). The methodology of this dissertation is based upon content analysis as defined by Russell Bernard (1994) as a blend of qualitative and quantitative, positivistic and interpretative steps. Utilizing ethnographic content analysis as research methodology, my study investigates how the media in China and the US constructed each other's images and how they presented the images to their domestic audience. It explores the relationship between these two linked spaces, particularly in the field of cultural imagery, social representation, and the relationship between modernity and visuality. Through a symmetrical examination of two worlds and a close reading of socio-cultural contexts from a comparative perspective, my research aims to shed light on the various social forces at play in late 19th century media, and to develop a nuanced anthropological understanding of cultural dynamism in the late 19th century media landscape.
Relying on documents previously unavailable to both Western and Chinese researchers, this history demonstrates how Western technology and evolving traditional values resulted in the birth of a unique form of print capitalism that would have a far-reaching and irreversible influence on Chinese culture. In the mid-1910s, what historians call the "Golden Age of Chinese Capitalism" began, accompanied by a technological transformation that included the drastic expansion of China's "Gutenberg revolution." This is a vital reevaluation of Chinese modernity that refutes views that China's technological development was slowed by culture or that Chinese modernity was mere cultural continuity.
Illustrations used for story-telling and mirth-making have enlivened Asian walls, scrolls, books, public and private places, and artifacts for millennia. Often playful and humorous, Asian pictorial stories lent conspicuous elements to contemporary comic art, particularly with their use of narrative nuance, humor, satire, and dialogue. Illustrating Asia is a fascinating book on a subject that is of wide and topical interest. All of the articles consider cartoon and/or comic art in the historical and social setting of seven South, Southeast, and East Asian countries: India, Taiwan, Malaysia, Indonesia, Sri Lanka, China, and Japan. The contributors treat comic and narrative art—including comic books, comic strips, picture books, and humor and fan magazines—in both historical and socio-cultural perspectives, as well as portrayals of ancient Chinese philosophy, gender, and the enemy in cartoons and comics. Contributors: Laine Berman, John A. Lent, Fusami Ogi, Rei Okamoto, Ronald Provencher, Aruna Rao, Kuiyi Shen, Shimizu Isao, Shu-chu Wei, Yingjin Zhang.
This volume evaluates the dual roles of war and modernity in the transformation of twentieth-century Chinese identity. The contributors, all leading researchers, argue that war, no less than revolution, deserves attention as a major force in the making of twentieth-century Chinese history. Further, they show that modernity in material culture and changes in intellectual consciousness should serve as twin foci of a new wave of scholarly analysis. Examining in particular the rise of modern Chinese cities and the making of the Chinese nation-state, the contributors to this interdisciplinary volume of cultural history provide new ways of thinking about China's modern transformation up to the 1950s. Taken together, the essays demonstrate that the combined effect of a modernizing state and an industrializing economy weakened the Chinese bourgeoisie and undercut the individual's quest for autonomy. Drawing upon new archival sources, these theoretically informed, thoroughly revisionist essays focus on topics such as Western-inspired modernity, urban cosmopolitanism, consumer culture, gender relationships, interchanges between city and countryside, and the growing impact of the state on the lives of individuals. The volume makes an important contribution toward a postsocialist understanding of twentieth-century China.
Cosmopolitanism, Nationalism, and Individualism in Modern China analyzes important aspects of Chinese intellectual life and cultural practices that formed and informed the historical phenomenon known as the New Culture era. Through examining an influential newspaper supplement published in Beijing during 1918–1928, along with other contemporary sources, the book explores the full dimensions and rich textures of the intellectual-literary discourses of the time period and contributes to a re-consideration and re-appreciation of the New Culture phenomenon in modern China. It highlights a key intellectual-moral paradox in Chinese discourses between cosmopolitanism as an idealistic aspiration and nationalism as a practical imperative, both in complex relationship to individualism, a paradox that ultimately speaks to the constant negotiations between Chinese tradition and Western culture in the making of Chinese modernity. These issues have remained vitally relevant to China and the world nearly a century later.
As a vehicle to convey both the history of modern China and the complex forces still driving the nation’s economic success, rail has no equal. Railroads and the Transformation of China is the first comprehensive history, in any language, of railroad operation from the last decades of the Qing Empire to the present. China’s first fractured lines were built under semicolonial conditions by competing foreign investors. The national system that began taking shape in the 1910s suffered all the ills of the country at large: warlordism and Japanese invasion, Chinese partisan sabotage, the Great Leap Forward when lines suffered in the “battle for steel,” and the Cultural Revolution, during which Red Guards were granted free passage to “make revolution” across the country, nearly collapsing the system. Elisabeth Köll’s expansive study shows how railroads survived the rupture of the 1949 Communist revolution and became an enduring model of Chinese infrastructure expansion. The railroads persisted because they were exemplary bureaucratic institutions. Through detailed archival research and interviews, Köll builds case studies illuminating the strength of rail administration. Pragmatic management, combining central authority and local autonomy, sustained rail organizations amid shifting political and economic priorities. As Köll shows, rail provided a blueprint for the past forty years of ambitious, semipublic business development and remains an essential component of the PRC’s politically charged, technocratic economic model for China’s future.