There is growing acceptance among pragmaticians that identity is often (de)constructed and negotiated in communication in order to impact the outcome of the interaction. Filling an important gap in current research, this book offers the first systematic, pragmatic theory to account for the generative mechanisms of identity in communication. Using data drawn from real-life communicative contexts in China, Xinren Chen examines why identity strategies are adopted, how and why identities are constructed and what factors determine their appropriateness and effectiveness. In answering these questions, this book argues that identity is an essential communicative resource, present across various domains and able to be exploited to facilitate the realization of communicative needs. Demonstrating that communication in Chinese involves the dynamic choice and shift of identity by discursive means, Exploring Identity Work in Chinese Communication suggests that identity is intersubjective in communication in all languages and that it can be accepted, challenged, or even deconstructed.
Past, present and future "The archaeological materials recovered from the Anyang excavations ... in the period between 1928 and 1937 ... have laid a new foundation for the study of ancient China (Li, C. 1977: ix)." When inscribed oracle bones and enormous material remains were found through scientific excavation in Anyang in 1928, the historicity of the Shang dynasty was confirmed beyond dispute for the first time (Li, C. 1977: ix-xi). This excavation thus marked the beginning of a modern Chinese archaeology endowed with great potential to reveal much of China's ancient history.. Half a century later, Chinese archaeology had made many unprecedented discoveries which surprised the world, leading Glyn Daniel to believe that "a new awareness of the importance of China will be a key development in archaeology in the decades ahead (Daniel 1981: 211). This enthusiasm was soon shared by the Chinese archaeologists when Su Bingqi announced that "the Golden Age of Chinese archaeology is arriving (Su, B. 1994: 139--140)". In recent decades, archaeology has continuously prospered, becoming one of the most rapidly developing fields in social science in China"--
Drawing on the core values of western civilization, the author refines the counterparts in Chinese civilization, summarized as four core principles: duty before freedom, obedience before rights, community before individual, and harmony before conflict. Focusing on guoxue or Sinology as the basis of his approach, the author provides detailed explanations of traditional Chinese values. Recent scholars have addressed the concept of guoxue since the modern age, sorting through it and piecing it together, which has produced an extremely abundant range of information. However, given that the concepts and theories involved have been left largely unanalyzed, this book develops a theoretical treatment of them in several important respects. First, it analyzes the mindset of guoxue, examining the dominant ideas and values of the era from which the term “guoxue” arose, focusing on its connection to early changes and trends in society and culture, and distinguishing three key phases of development. Past scholars mainly had in mind the range of objects studied in guoxue when defining it, and what this book underscores is the meaning of guoxue as a modern body of research. Secondly, it assesses several phases in the modern evolution of the body of guoxue research from the beginning to the end of the 20th century, i.e., ending with the later phase of the National Heritage movement. Third and lastly, the book explores the various main modes of modern guoxue, which correspond step by step with the evolutionary phases of guoxue research.
This revelatory book shows how the influential and controversial Empress Dowager Cixi used art and architecture to establish her authority Empress Dowager Cixi (1835-1908), who ruled China from 1861 until her death in 1908, is a subject of fascination and controversy, at turns vilified for her political maneuvering and admired for modernizing China. In addition to being an astute politician, she was an earnest art patron, and this beautifully illustrated book explores a wide range of objects, revealing how the empress dowager used art and architecture to solidify her rule. Cixi's art commissions were innovative in the way that they unified two distant conceptions of gender in China at the time, demonstrating her strength and wisdom as a monarch while highlighting her identity as a woman and mother. Artful Subversion examines commissioned works, including portrait paintings and photographs, ceramics, fashion, architecture, and garden design, as well as work Cixi created, such as painting and calligraphy. The book is a compelling study of how a powerful matriarch at once subverted and upheld the Qing imperial patriarchy.
In 1995 Chinese animated filmmaking ceased to be a state-run enterprise and was plunged into the free market. Using key animated films as his case studies, Shaopeng Chen examines new generation Chinese animation in its aesthetic and industrial contexts. He argues that, unlike its predecessors, this new generation does not have a distinctive national identity, but represents an important stage of diversity and exploration in the history of Chinese animation. Chen identifies distinct characteristics of new generation filmmaking, including an orientation towards young audiences and the recurring figure of the immortal monkey-like Sun Wukong. He explores how films such as Lotus Lantern/Baolian Deng (1999) responded to competition from American imports such as The Lion King (1994), retaining Chinese iconography while at the same time adopting Hollywood aesthetics and techniques. Addressing the series Boonie Bears/Xiong Chumo (2014-5), Chen focuses on the films' adaptation from the original TV series, and how the films were promoted across generations and by means of both online and offline channels. Discussing the series Kuiba/Kui Ba (2011, 2013, 2014), Chen examines Vasoon Animation Studio's ambitious attempt to create the first Chinese-style high fantasy fictional universe, and considers why the first film was a critical success but a failure at the box-office. He also explores the relationship between Japanese anime and new generation Chinese animation. Finally, Chen considers how word-of-mouth social media engagement lay behind the success of Monkey King: Hero is Back (2015).
Despite the importance of Chen Hongshou (1599-1652) as an artist and scholar of the late Ming period, until now no full length study in English has focused on his work. Author Tamara H. Bentley takes a broadly interdisciplinary approach, treating Chen's oeuvre in relation to literary themes and economic changes, and linking these larger concerns to visual analyses. In so doing, Bentley sheds new light not only on Chen, but also on an important cultural moment in the first half of the seventeenth century, when Chinese scholar artists began to direct their work towards anonymous public markets.
This revised and expanded edition of the first comprehensive study of Occidentalism in post-Mao China includes a new preface, foreword, and chapter on Chinese diaspora writings in the Chinese language. Xiaomei Chen offers an insightful account of the unremittingly favorable depiction of Western culture and its negative characterization of Chinese culture in post-Mao China since 1978. She examines the cultural and political interrelationship between the East and West from a vantage point more complex than that accommodated by most current theories of Western imperialism and colonialism. Going beyond Edward Said's construction in Orientalism of cross-cultural appropriations as a defining facet of Western imperialism, Chen argues that the appropriation of Western discourse--what she calls "Occidentalism"--can actually have a politically and ideologically liberating effect on contemporary non-Western culture. She maintains that simplistic allegations of Orientalism frequently found in current critical discourses seriously underestimate the complexities of intercultural and multicultural relationships. Using China as the focus of her analysis, Chen examines a variety of cultural media, from Shakespearean drama, to modernist poetry, to contemporary Chinese television and popular fiction. She thus places sinology in the general context of Western theoretical discourses, such as Eurocentrism, postcolonialism, nationalism, modernism, feminism, and literary hermeneutics, showing that it has a vital role to play in the study of Orient and Occident and their now unavoidable symbiotic relationship. Occidentalism presents a new model of comparative literary and cultural studies that reenvisions cross-cultural appropriation. It will be indispensable to future discussions of Orientalism, Occidentalism, and postcolonialism, as well as subaltern studies, Asian studies, comparative literature, cultural studies, and non-Western drama.
3000 years of Chinese history presented through the lives of ninety-six illustrious participants from all periods and all parts of the country China is the most populous country on earth, with the longest history of any modern nation. Here, the full range of Chinese cultural and scientific achievements, as well as its military conquests, wars, rebellions, and political and philosophical movements, are told through the eyes of real people who created or were involved in them. The subjects include emperors and empresses, concubines, officials and political figures, rebels, exiles, philosophers, writers and poets, artists, musicians, scientists, military leaders, and committed pacifists. From Fu Hao, an early warrior lady of the thirteenth century BC, to the late twentieth-century leader Deng Xiaoping, their careers, achievements, misdeeds, disasters, punishments, ideas and love stories make this an unforgettable read. Illustrated with portraits, paintings, written documents, bronzes, sculptures, and location maps, and written in an authoritative yet accessible style, Chinese Lives provides the perfect introduction to China’s history and her peoples.
The Chinese economic miracle is happening despite, not because of, China's 900 million peasants. They are missing from the portraits of booming Shanghai, or Beijing. Many of China's underclass live under a feudalistic system unchanged since the fifteenth century. They are truly the voiceless in modern China. They are also, perhaps, the reason that China will not be able to make the great social and economic leap forward, because if it is to leap it must carry the 900 million with it. Chinese journalists Wu Chuntao and Chen Guidi returned to Wu's home province of Anhui, one of China's poorest, to undertake a three-year survey of what had happened to the peasants there, asking the question: Have the peasants been betrayed by the revolution undertaken in their name by Mao and his successors? The result is a brilliant narrative of life among the 900 million, and a vivid portrait of the petty dictators that run China's villages and counties and the consequences of their bullying despotism on the people they administer. Told principally through four dramatic narratives of particular Anhui people, Will the Boat Sink the Water? gives voice to the unheard masses and looks beneath the gloss of the new China to find the truth of daily life for its vast population of rural poor.
This book examines the Chinese fictions (xiaoshuo) published between 1898 and 1927 – three pivotal decades, during which China underwent significant social changes. It applies Narratology and Sociology of the Novel methods to analyze both the texts themselves and the social-cultural factors that triggered the transformation of the narrative mode in Chinese fiction. Based on empirical data, the author argues that this transformation was not only inspired by translated Western fiction, but was also the result of a creative transformation in tradition Chinese literature.
Kai and his mother were sitting on an Air China 747 in San Francisco International Airport, waiting impatiently for take-off. Kai's father had passed away a year before in the spring of 1988. He was taking his mother home to visit his elder brother in China. The take-off had been delayed because one of the Chinese passengers failed to show up even though he had already checked his luggage. He had decided to remain in the US illegally. This incident took Kai back in time to his own painful and courageous decisions. . A 12 year old Kai was sitting on the train waiting to leave Beijing for Manchuria. Young Kai was confused about why he was leaving, not knowing he and his brothers were being forced to join their exiled parents in the small city of Tonghua. He had spent the past five years with an abusive grandmother and Big Brother in Beijing. Life in Tonghua wasn't any easier for Kai who grew into a teenager with a different accent and a unique physical appearance - 6'7" by the age 15. But the most mind-boggling torment for Kai and his family was still to come. In 1966, the Cultural Revolution began. With half of his relatives in Taiwan, Kai and his family endured political persecution and discrimination. He and his brothers were again forced to leave the city to go to the countryside. Kai set out to overcome these obstacles. He used his basketball skills to land a job in a Liuhe grain depot while playing for the depot's team. Soon after, with China's return to professional sports, two basketball coaches from the National Sports and Athletics Commission recruited him for the National Basketball Team's training camp in Beijing. At the camp, Kai met his best friend Xiao, a track team member, who was later expelled because his father had worked for Kuomintang's army. Kai remained a little longer and then was also expelled for the similar reason. Determined not to return to the isolation of the small town factory, he escaped to Canton. He was caught and then forced back to Beijing, placed in solitary confinement and put under investigation. The authorities suspected him of trying to defect to Hong Kong. Little do they understand, his goal was not to escape the country, but to escape the shackles of the Big Family, that undefined "everyone" that represents generations of tradition. He was nevertheless escorted back to the Liuhe grain depot. After yet another attempt to escape, Kai was drafted by the Shenyang army team and sent to a combat unit for reeducati
This new book tells the story of the rise and fall of Fu Ren University (1925-1952) and provides an analysis of a key Catholic higher education institution in China.
The book provides a comprehensive and in-depth analysis of Wang’s philosophy at different stages throughout its maturation so as to sketch the essential character and grand picture of Wang’s philosophy. As a systematic study of Wang’s philosophy, this monograph boasts a broad perspective, profound analysis and substantial historical data. It is a perfect manifestation of the author’s academic accomplishment and presents the readers with a panorama of Wang’s thought. Although the book is focused primarily on Wang, its scope and methodology carry great implications for the study of Song and Ming Confucianism and even ancient Chinese philosophy as a whole.
The Yearbook of China's Cultural Industries is a large comprehensive, authoritative and informative annual which accurately records and reflects the annual development of cultural industries in China. It is also a large reference book with abundant information on cultural industries in China and a complex index, which could be kept for a long time and read for many years. A must for libraries. It deals with Radio and TV, the film industry, Press and Publishing Industries, the Entertainment Industry, Online Game Industry, Audio Visual New Media Industry, Advertisement Industry, and the Cultural Tourism Industry. It examines the figures nationally and by region.
From ancient “knife money” to the Renminbi—a fascinating history of Chinese currency Chinese Currency and the Global Economy is an all-encapsulating study of the Chinese monetary system from the historical perspective of global economy and finance. From economic infrastructure to the cultural system and from world events to the domestic scene, author Chen Yulu describes the metamorphosis of the Chinese currency and examines what is entailed in the globalization of Renminbi against the background of world economic multi-polarization. Chen Yulu is an Eisenhower senior visiting fellow and a Fulbright senior scholar. He serves concurrently as president of Renmin University of China, vice-chairman of the China International Finance Association, and deputy secretary general and executive director of the China Society for Finance and Banking.
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