Catalog of the exhibition Summoning Ghosts: the Art of Hung Liu, organized by Rene de Guzman on behalf of the Oakland Museum of California and presented March 16-June 30, 2013.
Hing Hing Ming reviews some of the major episodes of the Han Dynasty, from its founding by Liu Bang to the Lü Clan Disturbance and subsequent diplomatic overtures and military campaigns against the minor Chinese kingdoms, the Mongols, and Gojoseon (the ancient Korean Kingdom).
In this sweeping portrait of the political culture of the early People's Republic of China (PRC), Chang-tai Hung mines newly available sources to vividly reconstruct how the Chinese Communist Party (CCP) tightened its rule after taking power in 1949. With political-cultural projects such as reconstructing Tiananmen Square to celebrate the Communist Revolution; staging national parades; rewriting official histories; mounting a visual propaganda campaign, including oil paintings, cartoons, and New Year prints; and establishing a national cemetery for heroes of the Revolution, the CCP built up nationalistic fervor in the people and affirmed its legitimacy. These projects came under strong Soviet influence, but the nationalistic Chinese Communists sought an independent road of nation building; for example, they decided that the reconstructed Tiananmen Square should surpass Red Square in size and significance, against the advice of Soviet experts sent from Moscow. Combining historical, cultural, and anthropological inquiries, Mao's New World examines how Mao Zedong and senior Party leaders transformed the PRC into a propaganda state in the first decade of their rule (1949–1959). Using archival sources only recently made available, previously untapped government documents, visual materials, memoirs, and interviews with surviving participants in the Party's plans, Hung argues that the exploitation of new cultural forms for political ends was one of the most significant achievements of the Chinese Communist Revolution. The book features sixty-six images of architecture, monuments, and artwork to document how the CCP invented the heroic tales of the Communist Revolution.
A beggar, an itinerant monk, leapt to greatness during a tumultuous epoch and went on to found the Ming Dynasty of China (1368--1644). As a destitute peasant with nothing to lose, he started a local rebellion; success built on success. Defeating local warlords, Zhu Yuan Zhang conquered all the southern part of China, then sent his army north and took the rest. By unifying many Chinese lands, he brought peace and prosperity after a long period of tumult. He is honored with the temple name of Ming Taizu, Grand Ancestor of Ming.
It is generally believed that Mao Zedong’s populism was an abrupt departure from traditional Chinese thought. This study demonstrates that many of its key concepts had been developed several decades earlier by young May Fourth intellectuals, including Liu Fu, Zhou Zuoren, and Gu Jiegang. The Chinese folk-literature movement, begun at National Beijing University in 1918, changed the attitudes of Chinese intellectuals toward literature and toward the common people. Turning their backs on “high culture” and Confucianism, young folklorists began “going to the people,” particularly peasants, to gather the songs, legends, children’s stories, and proverbs that Chang-tai Hung here describes and analyzes. Their focus on rural culture, rural people, and rural problems was later to be expanded by the Chinese Communist revolutionaries.
This is the first comprehensive study of popular culture in twentieth-century China, and of its political impact during the Sino-Japanese War of 1937-1945 (known in China as "The War of Resistance against Japan"). Chang-tai Hung shows in compelling detail how Chinese resisters used a variety of popular cultural forms—especially dramas, cartoons, and newspapers—to reach out to the rural audience and galvanize support for the war cause. While the Nationalists used popular culture as a patriotic tool, the Communists refashioned it into a socialist propaganda instrument, creating lively symbols of peasant heroes and joyful images of village life under their rule. In the end, Hung argues, the Communists' use of popular culture contributed to their victory in revolution.
Drawn from Chinese classics of history, Hung Hing Ming's biographies introduce China's most emblematic historical figures and the cultural attributes fostered by China's ancient chronicles. This book is about one of the greatest emperors in Chinese history, Zhao Kuang Yin, founder of the Song Dynasty (960–1279). He is honored for having unified China in the extremely chaotic period of 'Five Dynasties and Ten States'. This enjoyable book introduces more of China's heroes and villains, highlighting a modest man yet a great emperor who brought peace and stability to the realm and saved the people from great suffering. Interwoven into the narrative of battles fought and alliances forged or flouted, we find examples of good leadership and bad, hot-headed fighters and disciplined warriors, and lessons on how to assess — and win — people's loyalty.
The origin of political modernity has long been tied to the Western history of protest and revolution, the currents of which many believe sparked popular dissent worldwide. Reviewing nearly one thousand instances of protest in China from the eighteenth to the early-nineteenth centuries, Ho-fung Hung charts an evolution of Chinese dissent that stands apart from Western trends. Hung samples from mid-Qing petitions and humble plaints to the emperor. He revisits rallies, riots, market strikes, and other forms of contention rarely considered in previous studies. Drawing on new world history, which accommodates parallels and divergences between political-economic and cultural developments East and West, Hung shows how the centralization of political power and an expanding market, coupled with a persistent Confucianist orthodoxy, shaped protesters' strategies and appeals in Qing China. This unique form of mid-Qing protest combined a quest for justice and autonomy with a filial-loyal respect for the imperial center, and Hung's careful research ties this distinct characteristic to popular protest in China today. As Hung makes clear, the nature of these protests prove late imperial China was anything but a stagnant and tranquil empire before the West cracked it open. In fact, the origins of modern popular politics in China predate the 1911 Revolution. Hung's work ultimately establishes a framework others can use to compare popular protest among different cultural fabrics. His book fundamentally recasts the evolution of such acts worldwide.
Li Shi Min was a man of great political and military accomplishments, narrated here with the battle stratagems and clever counsel that carried him forward. This book tells how he helped his father Li Yuan to establish the Tang Dynasty and the contributions he made to unifying China. Author Hung Hing Ming draws on China's historical records and chronicles to recount the battles to conquer the warlords and local strongmen in different parts of China, the wise policies he adopted, and the means by which he inspired officials to put forward good suggestions. His deeds, policies and constructive interactions with his ministers and generals were compiled into guides and teaching materials for successors to the Chinese throne. Much of this leadership training advice is still useful today. This book will be an asset to readers as there are few works in English that introduce these cultural motifs that color the thinking of nation so important to ours.
This book originally examines how prominent communist intellectuals in China during the revolutionary period (1921 to 1940) constructed and presented identities for themselves and how they narrated their place in the revolution.
Translated fiction has largely been under-theorized, if not altogether ignored, in literary studies. Though widely consumed, translated novels are still considered secondary versions of foreign masterpieces. Readers, Reading and Reception of Translated Fiction in Chinese recognizes that translated novels are distinct from non-translated novels, just as they are distinct from the originals from which they are derived, but they are neither secondary nor inferior. They provide different models of reality; they are split apart by two languages, two cultures and two literary systems; and they are characterized by cultural hybridity, double voicing and multiple intertextualities. With the continued popularity of translated fiction, questions related to its reading and reception take on increasing significance. Chan draws on insights from textual and narratological studies to unravel the processes through which readers interact with translated fiction. Moving from individual readings to collective reception, he considers how lay Chinese readers, as a community, 'received' translated British fiction at specific historical moments during the late twentieth and early twenty-first centuries. Case studies discussed include translations of stream-of-consciousness novels, fantasy fiction and postmodern works. In addition to lay readers, two further kinds of reader with bilingual facility are examined: the way critics and historians approach translated fiction is investigated from structuralist and poststrcuturalist perspectives. A range of novels by well-known British authors constitute the core of the study, including novels by Oscar Wilde, James Joyce, D.H. Lawrence, Virginia Woolf, John Fowles, Helen Fielding and J.K. Rowling.
This book looks at the relationship between Chinese international relations (IR) scholarship and China’s rise as a world power. Specifically, it addresses how China’s rising international status since the early 1990s has shaped the country’s IR studies, and the different ways that Chinese IR scholars are interpreting that rise. The author argues that the development of IR studies in China has been influenced by China’s past historical experiences, its recent change in status in world politics, and indigenous scholarly interpretations of both factors. Instead of treating Chinese IR scholars as value-free social scientists, the author shows how Chinese scholars—as purposive, strategic, and emotional actors—tend to manipulate existing (mostly Western) IR theories to support their policy propositions and identity statements. This book represents one of few efforts to determine how local Chinese scholars are constructing IR knowledge, how they are dealing with intersections between indigenous Chinese and imported IR theory and concepts, and how Chinese scholars are analyzing “their China” in terms of its current rise to power.
Using a unique interdisciplinary, cultural-institutional analysis, Politics of Control is the first comprehensive study of how, in the early decades of the People’s Republic of China, the Chinese Communist Party reshaped people’s minds using multiple methods of control. With newly available archival material, internal circulars, memoirs, interviews, and site visits, the book explores the fascinating world of mass media, book publishing, education, religion, parks, museums, and architecture during the formative years of the republic. When the Communists assumed power in 1949, they projected themselves as not only military victors but also as peace restorers and cultural protectors. Believing that they needed to manage culture in every arena, they created an interlocking system of agencies and regulations that was supervised at the center. Documents show, however, that there was internal conflict. Censors, introduced early at the Beijing Daily, operated under the “twofold leadership” of municipal-level editors but with final authorization from the Communist Party Propaganda Department. Politics of Control looks behind the office doors, where the ideological split between Party chairman Mao Zedong and head of state Liu Shaoqi made pragmatic editors bite their pencil erasers and hope for the best. Book publishing followed a similar multi-tier system, preventing undesirable texts from getting into the hands of the public. In addition to designing a plan to nurture a new generation of Chinese revolutionaries, the party-state developed community centers that served as cultural propaganda stations. New urban parks were used to stage political rallies for major campaigns and public trials where threatening sects could be attacked. A fascinating part of the story is the way in which architecture and museums were used to promote ethnic unity under the Chinese party-state umbrella. Besides revealing how interlocking systems resulted in a pervasive method of control, Politics of Control also examines how this system was influenced by the Soviet Union and how, nevertheless, Chinese nationalism always took precedence. Chang-tai Hung convincingly argues that the PRC’s formative period defined the nature of the Communist regime and its future development. The methods of cultural control have changed over time, but many continue to have relevance today.
In this book, Ruth Y. Y. Hung provides a study of Hu Feng (1902–1985) as a critic, writer, and editor within the context of the People's Republic of China's political ascendancy. A member of the Japanese Communist Party and the Chinese Communist Party, Hu rose to fame in the 1940s and became a representative persecuted intellectual soon after 1949. "The Hu Feng Case" of 1955—more than a decade before the Cultural Revolution—was a significant, large-scale campaign of intellectual persecution. Hung examines Hu's work as a literary critic in this context, and examines the intricate historical and sociopolitical forces against which intellectuals in his milieu in twentieth-century China adopted Marxism as a measure of their critical position. She demonstrates how this first generation of modern Chinese literary critics practiced criticism, examining the skills and arguments they used to negotiate their institutional and ideological relations with state-party power. This exceptional case of intellectual engagement offers broader insight on critical literature's humanistic aims and methods in the context of intellectual globalization and changing political climates.
Essential Terms of Chinese Painting provides a comprehensive coverage of the broad spectrum of Chinese painting. Through an array of some 900 terms, it exhibits the history of Chinese culture, as interpreted by artists and portrayed in their work. In masterful detail, it describes not only the artistic implements and drawing styles, but also how these are influenced by changing cultural considerations over time such as religion, philosophy, intellectual ideas, and political developments. From the broad view of how the change of dynasties affected painting trends in both format and subject, to the smallest detail of the methods used to paint different styles of tree branches, this is a full compendium of the scope and depth of artwork from China. This volume features twelve chapters which • explore all major areas of art including techniques, implements and materials, inscriptions and seals, painting and mounting formats for all categories including landscape, bird-and-flower, figure and auspicious paintings; • provide a helpful resource for readers to enjoy Chinese art with over 500 full-colour illustrations and pictures to further elaborate the terms discussed; • serve as an introduction to begin a true understanding of traditional Chinese painting.
Ming and Beata share neither the same language nor cultural background, yet their stories are remarkably similar. Both are single mothers in their thirties and both came to Britain in search of a new life: Ming from China and Beata from Poland. Neither imagined that their journey would end in a British brothel. In this chilling exposé, investigative journalist Hsiao- Hung Pai works undercover as a housekeeper in a brothel and unveils the terrible reality of the British sex trade. Many workers are trapped, some are controlled - the lack of freedoms this invisible strait of society suffers is both shocking and scandalous and at odds with the idea of a modern Britain in the twenty-first century. 'This is investigative journalism at its best. Fearless, rigorous and compassionate, Invisible is a shocking exposé of Britain's shadow world of sex slaves that enthralls and shames by turn. A master storyteller, Hsiao-Hung Pai opens a door onto one of the most secretive and least understood communities in the UK. Essential reading for anyone interested in the real price of sex.' James Brabazon, author of My Friend the Mercenary 'To navigate the sex trade of Chinese women in the UK with Invisible is to feel the desperation of thousands of women who enter sex work as the only option for survival. Hsiao-Hung Pai has done it again; she went undercover, smelled the breath of violence, cried hidden in a brothel bathroom and videotaped the underworld of pimps and madams who make their living off slaving women in need. Hsiao-Hung deflates the myth of sex work as a free choice for migrant women.' Lydia Cacho, author of Slavery Inc. 'Hsiao-Hung Pai is an intrepid seeker of truth, fearless and unstoppable.' Nick Broomfield 'A profound, disturbing and compassionate account of the tragic lives of women migrant workers who live and suffer in our midst' Helen Bamber
Past attempts at writing a history of Chinese translation theory have been bedeviled by a chronological approach, which often forces the writer to provide no more than a list of important theories and theorists over the centuries. Or they have stretched out to almost every aspect related to translation in China, so that the historical/political backdrop that had an influence on translation theorizing turns out to be more important than the theories themselves. In the present book, the author hopes to devote exclusive attention to the ideas themselves. The approach adopted centers around eight key issues that engaged the attention of theorists through the course of the twentieth century, in the hope that a historical account will be presented that is not time-bound. On the basis of 38 articles translated into English by teachers and scholars of translation, the author has written four essays discussing the Chinese characteristics of this body of theory. Separately they focus on the impressionistic, the modern, the postcolonial, and the poststructuralist approaches deployed by leading Chinese theorists from 1901 to 1998. It is hoped that publication of this book will make possible cross-cultural dialogue with translation academics in the West, although the general reader will find much firsthand information on Chinese thinking about translation.
Each year, 200 million workers from China’s vast rural interior travel between cities and provinces in search of employment: the largest human migration in history. This indispensable army of labour accounts for half of China’s GDP, but is an unorganized workforce—”scattered sand,” in Chinese parlance—and the most marginalized and impoverished group of workers in the country. For two years, the award-winning journalist Hsiao-Hung Pai travelled across China, visiting labourers on Olympic construction sites, in the coal mines and brick kilns of the Yellow River region, and at the factories of the Pearl River Delta. She witnessed the outcome of the 2009 riots in the Muslim province of Xinjiang; saw towns in rubble more than a year after the colossal earthquake in Sichuan; and was reunited with long-lost relatives, estranged since her mother’s family fled for Taiwan during the Civil War. Scattered Sand is the result of her travels: a finely wrought portrait of those left behind by China’s dramatic social and economic advances.
Annotation The stories of the Chinese great emperors reflect the ancient Chinese philosophy, ideology, their wisdom and their ways of administration. Liu Bang is an outstanding example. Rising from a peasant background to become Emperor, he founded the Han Dynasty which lasted for about four hundred years and essentially laid the foundations of China as we know it. Liu Bang (256 BC?195 BC), posthumously called Emperor Gaozu, was a low-ranking functionary in an obscure corner of the realm when he caught the wave of the great uprisings against the Qin Dynasty. First as leader of a local contingent and then as general of larger and larger armies, he eventually overthrew the despotic Qin emperor. Today, the Han are the majority ethnic identity in China. This is the story of the rise of Emperor Gaozu, his alliances and his rivalries, and the priceless partnership provided by his chief military strategist Zhang Liang, who planned victorious campaigns from a distance of 1000 miles; Xiao He, who stabilized the state, pacified the people, and assured the food supply to the army; and General Han Xin, who commanded the Han army in its conquest of the State of Wei, the State of Zhao, the State of Yan and the State of Qi and played a great role in the defeat of Xiang Yu.
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