On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of firsthand materials, the author meticulously excavates and combs historical data including court records, eunuchs' memoirs, pictorial archives of opera costumes, and period news. She investigates the development of imperial drama and its influence on the Peking Opera, as well as the function and system of imperial organizations responsible for drama. Also discussed are the complex roles of the actors on and off stage, and the broader issues of cultural and political influence intertwined with the performances themselves. The book thus presents us not only an art history of Peking Opera, but also a vivid scrollpainting of the socialcultural life both in and beyond the Forbidden City.
Brings to life the visual culture of the "nightless city," late nineteenth-century Shanghai, through analyses of more than one hundred drawn depictions
While twentieth-century Shanghai has received extensive scholarly treatment, the nineteenth century has remained understudied, even though it encompasses the first half-century of Shanghai's growth as a treaty port and the early years of Chinese-foreign contact. Published in the last quarter of the nineteenth century, the Dianshizhai Pictorial provides a record of the new urban popular culture that emerged in Shanghai's foreign settlements during this period. In this study, Ye Xiaoqing provides a comprehensive view into the Dianshizhai's detailed illustrations of everyday life at home, in commercial establishments, and in Shanghai's public areas. Her introduction to more than one hundred drawings points to the social background, lifestyle, and intellectual outlook of the Dianshizhai's literati writers and artists, the weakness of gentry control in the foreign settlements, and the commercialization and “modern” material culture that made Shanghai distinctive. The drawings and commentaries of the Dianshizhai contrast the settlements with “traditional” culture and urban life in the adjacent Chinese city and vividly convey items of interest—from the quotidian to the bizarre—highlighting local fascination with and anxiety at the rapid changes in Shanghai's increasingly cosmopolitan society.
Brings to life the visual culture of the "nightless city," late nineteenth-century Shanghai, through analyses of more than one hundred drawn depictions
On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of firsthand materials, the author meticulously excavates and combs historical data including court records, eunuchs' memoirs, pictorial archives of opera costumes, and period news. She investigates the development of imperial drama and its influence on the Peking Opera, as well as the function and system of imperial organizations responsible for drama. Also discussed are the complex roles of the actors on and off stage, and the broader issues of cultural and political influence intertwined with the performances themselves. The book thus presents us not only an art history of Peking Opera, but also a vivid scrollpainting of the socialcultural life both in and beyond the Forbidden City.
Shanghai in the 1920s and 1930s—"the Paris of the Orient"—was both a glittering metropolis and a shadowy world of crime and social injustice. It was also home to Huo Sang and Bao Lang, fictional Chinese counterparts to Arthur Conan Doyle’s Sherlock Holmes and Dr. Watson. The duo lived in a spacious apartment on Aiwen Road, where Huo Sang played the violin (badly) and smoked Golden Dragon cigarettes as he mulled over his cases. Cheng Xiaoqing (1893–1976), "The Grand Master" of twentieth-century Chinese detective fiction, had first encountered Conan Doyle’s highly popular stories as an adolescent. In the ensuing years he played a major role in rendering them first into classical and later into vernacular Chinese. In the late 1910s, Cheng began writing detective fiction very much in Conan Doyle’s style, with Bao as the Watson-like-I narrator—a still rare instance of so direct an appropriation from foreign fiction. Cheng Xiaoqing wrote detective stories to introduce the advantages of critical thinking to his readers, to encourage them to be skeptical and think deeply, because truth often lies beneath surface appearances. His attraction to the detective fiction genre can be traced to its reconciliation of the traditional and the modern. In "The Shoe," Huo Sang solves the case with careful reasoning, while "The Other Photograph" and "On the Huangpu" blend this reasoning with a sensationalism reminiscent of traditional Chinese fiction. "The Odd Tenant" and "The Examination Paper" also demonstrate the folly of first impressions. "At the Ball" and "Cat’s-Eye" feature the South-China Swallow, a master thief who, like other outlaws in traditional tales, steals only from the rich and powerful. "One Summer Night" clearly shows Cheng’s strategy of captivating his Chinese readers with recognizably native elements even as he espouses more globalized views of truth and justice.
Peking University, founded in 1898, was at the center of the major intellectual movements of twentieth-century China. In this institutional and intellectual history, author Xiaoqing Diana Lin shows how the university reflected and shaped Chinese intellectual culture in an era of great change, one that saw both a surge of nationalism and an interest in Western concepts such as democracy, science, and Marxism. Lin discusses Peking University's spirit of openness and how the school both encouraged the synthesis of Chinese and Western knowledge and promoted Western learning for the national good. The work covers the introduction of modern academic disciplines, the shift from integrative learning to specialized learning, and the reinterpretation of Confucianism for contemporary times.
In the spring of 1989, millions of citizens across China took to the streets in a nationwide uprising against government corruption and authoritarian rule. What began with widespread hope for political reform ended with the People's Liberation Army firing on unarmed citizens in the capital city of Beijing, and those leaders who survived the crackdown became wanted criminals overnight. Among the witnesses to this unprecedented popular movement was Rowena Xiaoqing He, who would later join former student leaders and other exiles in North America, where she has worked tirelessly for over a decade to keep the memory of the Tiananmen Movement alive. This moving oral history interweaves He's own experiences with the accounts of three student leaders exiled from China. Here, in their own words, they describe their childhoods during Mao's Cultural Revolution, their political activism, the bitter disappointments of 1989, and the profound contradictions and challenges they face as exiles. Variously labeled as heroes, victims, and traitors in the years after Tiananmen, these individuals tell difficult stories of thwarted ideals and disconnection, but that nonetheless embody the hope for a freer China and a more just world.
This book presents a mixed-methods study that explores the development of intercultural competence among local Chinese students in Chinese universities, using Deardorff’s process model of intercultural competence as a theoretical framework. In the global higher education context, “internationalization at home” is significant in (re)shaping educational practices, especially under the influence of the COVID-19 pandemic. Chinese higher education is also actively engaged in domestic internationalization. Specifically, this book explores the factors that influence Chinese students’ development of intercultural competence and their understanding of it in the context of internationalization at local Chinese universities. The findings suggest that many universities in China are trying to improve domestic students’ intercultural competence through various strategies, such as foreign language learning, extracurricular intercultural communication activities, and international cooperation programs. Notably, the effects are diverse. Based on these findings, this book also discusses the potential theoretical, practical, and policy implications. This book will be an excellent resource for students and scholars in comparative and international education, student development, cultural studies, Chinese studies, and those interested in Chinese higher education.
This is an intellectual biography of Feng Youlan [Fung Yu-lan] (1895-1990), one of the preeminent Chinese philosophers of the 20th century. Feng’s life very well captured the vicissitudes of twentieth-century Chinese politics and scholarship. He made his name in the 1930s and ’40s with a path-breaking approach to Chinese philosophy. And he was one of the few prominent pre-1949 non-Communist Chinese scholars who attempted to influence Chinese society with prolific publications after 1949. This monograph explores Feng Youlan’s work and the trajectory of changes in Feng’s philosophical outlook against the social and political contexts of Feng’s life from the 1920s to 1990. Feng’s search for a framework of Chinese philosophy that is open and connected to foreign learning, and a framework of self-cultivation that is open to outside ideas, continues to be important goals for Chinese philosophy today.
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