Dissatisfaction with the Gross Domestic Product (GDP) as an indicator of a country’s development or a population’s wellbeing led to the development of the Genuine Progress Indicator (GPI). The GPI is an aggregate index of over 20 economic, social and environmental indicators, and accounts for both the welfare benefits of economic growth, and the social and environmental costs which accompany that economic growth. The result is better information about the level of welfare or well-being of a country’s population. This book measures the GPI of Hong Kong and Singapore from 1968 to 2010. It finds that for both countries, economic output (as measured by the GDP) has grown more than welfare (as measured by the GPI), but important differences are also found. In Hong Kong, the GPI has grown for the whole period under consideration, while in Singapore the GPI has stalled from 1993. This is in line with most countries and is explained by the "threshold hypothesis" which states that beyond a certain level of economic development the benefits of further economic growth are outweighed by even higher environmental and social costs. The book argues that the growth of Hong Kong’s GPI is due to its favourable relationship with China and in particular its ability to export low-wage jobs and polluting industries, rather than successful domestic policies. A stalling or shrinking GPI calls for alternative policies than the growth economy promoted by neoclassical economists, and the book explores an alternative model, that of the Steady State Economy (SSE).
This book presents an overview of the development of China-Europe express train in the broader context of BRI. It analyzes the benefits to the regions along the route from the safe, smooth and stable operation of the train in recent years, involving the strong impetus for building a new pattern of dual cycle development and driving the recovery of the economy in the post-pandemic era. Based on in-depth case studies of the operations in many regions, this book proposes measures in order to promote the high-quality development of China-Europe train: to improve infrastructure and enhance port capacity; to unify international standards and improve the efficiency of train customs clearance; to open up the European market and actively organize the return source of goods; to standardize government administrative intervention according to market orientation; to strengthen the construction of digital infrastructure with the focus on connectivity; to cultivate international logistics talents and build a high-quality China-Europe express train talent team.
The division between the scholar-gentry class and the “people” was an enduring theme of the traditional Chinese agrarian-bureaucratic state. Twentieth-century elites recast this as a division between intellectuals and peasants and made the confrontation between the writing/intellectual self and the peasant “other” a central concern of literature. The author argues that, in the process, they created the “peasantry,” the downtrodden rural masses represented as proper objects of political action and shifting ideological agendas. Throughout this transition, language or discourse has been not only a weapon of struggle but the center of controversy and contention. Because of this primacy of language, the author’s main approach is the close reading or, rather, re-reading of significant narrative fictions from four literary generations to demonstrate how historical, ideological, and cultural issues are absorbed, articulated, and debated within the text. Three chapters each focus on one representative author. The fiction of Lu Xun (1881-1936), which initiated the literary preoccupation with the victimized peasant, is also about the identity crisis of the intellectual. Zhao Shuli (1906-1970), upheld by the Communist Party as a model “peasant writer,” tragically exemplifies in his career the inherent contradictions of such an assigned role. In the post-Mao era, Gao Xiaosheng (1928—) uses the ironic play of language to present a more ambiguous peasant while deflating intellectual pretensions. The chapter on the last of the four “generations” examines several texts by Mo Yan (1956—), Han Shaogong (1952—), and Wang Anyi (1954—) as examples of “root-searching” fiction from the mid-1980’s. While reaching back into the past, this fiction is paradoxically also experimental in technique: the encounter with the peasant leads to questions about the self-construction of the intellectual and the nature of narrative representation itself. Throughout, the focus is on texts in which some sort of representation or stand-in of the writer/intellectual self is present—as character, as witness, as center of consciousness, or as first-person or obtrusive narrator. Each story catches the writer in a self-reflective mode, the confrontation with the peasant “other” providing a theater for acting out varying dramas of identity, power, ideology, political engagement, and self-representation.
How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there.
Dissatisfaction with the Gross Domestic Product (GDP) as an indicator of a country’s development or a population’s wellbeing led to the development of the Genuine Progress Indicator (GPI). The GPI is an aggregate index of over 20 economic, social and environmental indicators, and accounts for both the welfare benefits of economic growth, and the social and environmental costs which accompany that economic growth. The result is better information about the level of welfare or well-being of a country’s population. This book measures the GPI of Hong Kong and Singapore from 1968 to 2010. It finds that for both countries, economic output (as measured by the GDP) has grown more than welfare (as measured by the GPI), but important differences are also found. In Hong Kong, the GPI has grown for the whole period under consideration, while in Singapore the GPI has stalled from 1993. This is in line with most countries and is explained by the "threshold hypothesis" which states that beyond a certain level of economic development the benefits of further economic growth are outweighed by even higher environmental and social costs. The book argues that the growth of Hong Kong’s GPI is due to its favourable relationship with China and in particular its ability to export low-wage jobs and polluting industries, rather than successful domestic policies. A stalling or shrinking GPI calls for alternative policies than the growth economy promoted by neoclassical economists, and the book explores an alternative model, that of the Steady State Economy (SSE).
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