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Illuminations from the Past: Trauma, Memory, and History in Modern China (Cultural Memory in the Present)
Ban Wang
Manufacturer: Stanford University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0804750998
Release Date: 2004-10-08

Book Description

This book offers a cultural history of modern China by looking at the tension between memory and history. Mainstream books on China tend to focus on the hard aspects of economics, government, politics, or international relations. This book takes a humanistic look at modern changes and examines how Chinese intellectuals and artists experienced trauma, social upheavals, and transformations. Drawing on a wide array of sources in political and aesthetic writings, literature, film, and public discourse, the author has portrayed the unique ways the Chinese imagine and portray their own historical destiny in the midst of trauma, catastrophe, and runaway globalization.

Postmodernism and China (boundary 2 book)

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Postmodernism and China (boundary 2 book)

Manufacturer: Duke University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0822325446

Book Description

Few countries have been so transformed in recent decades as China. With a dynamically growing economy and a rapidly changing social structure, China challenges the West to understand the nature of its modernization. Using postmodernism as both a global frame of periodization and a way to break free from the rigid ideology of westernization as modernity, this volume’s diverse group of contributors argues that the Chinese experience is crucial for understanding postmodernism.
Collectively, these essays question the implications of specific phenomena, like literature, architecture, rock music, and film, in a postsocialist society. Some essays address China’s complicity in—as well as its resistance to—the culture of global capitalism. Others evaluate the impact of efforts to redefine national culture in terms of enhanced freedoms and expressions of the imagination in everyday life. Still others discuss the general relaxation of political society in post-Mao China, the emergence of the market and its consumer mass culture, and the fashion and discourse of nostalgia. The contributors make a clear case for both the historical uniqueness of Chinese postmodernism and the need to understand its specificity in order to fully grasp the condition of postmodernity worldwide. Although the focus is on mainland China, the volume also includes important observations on social and cultural realities in Hong Kong and Taiwan, whose postmodernity has so far been confined—in both Chinese and English-speaking worlds—to their economic and consumer activities instead of their political and cultural dynamism.
First published as a special issue of boundary 2, Postmodernism and China includes seven new essays. By juxtaposing postmodernism with postsocialism and by analyzing China as a producer and not merely a consumer of the culture of the postmodern, it will contribute to critical discourses on globalism, modernity, and political economics, as well as to cultural and Asian studies.

Contributors. Evans Chan, Arif Dirlik, Dai Jinhua, Liu Kang, Anthony D. King, Jeroen de Kloet, Abidin Kusno, Wendy Larson, Chaoyang Liao, Ping-hui Liao, Sebastian Hsien-hao Liao, Sheldon Hsiao-peng Lu, Wang Ning, Xiaobing Tang, Xiaoying Wang, Chen Xiaoming, Xiaobin Yang, Zhang Yiwu, Xudong Zhang

Chinese Modern: The Heroic and the Quotidian (Post-Contemporary Interventions)

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Zhang Xudong's book more helpful
colonial expertise on Taiwan?
overshadowed by Fred Jameson
not up to its ambition

Chinese Modern: The Heroic and the Quotidian (Post-Contemporary Interventions)
Xiaobing Tang
Manufacturer: Duke University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0822324474

Book Description

Chinese Modern examines crucial episodes in the creation of Chinese modernity during the turbulent twentieth century. Analyzing a rich array of literary, visual, theatrical, and cinematic texts, Xiaobing Tang portrays the cultural transformation of China from the early 1900s through the founding of the People’s Republic, the installation of the socialist realist aesthetic, the collapse of the idea of utopia in the aftermath of the Cultural Revolution, and the gradual cannibalization of the socialist past by consumer culture at the century’s end. Throughout, he highlights the dynamic tension between everyday life and the heroic ideal.
Tang uncovers crucial clues to modern Chinese literary and cultural practices through readings of Wu Jianren’s 1906 novel The Sea of Regret and works by canonical writers Lu Xun, Ding Ling, and Ba Jin. For the midcentury, he broadens his investigation by considering theatrical, cinematic, and visual materials in addition to literary texts. His reading of the 1963 play The Young Generation reveals the anxiety and terror underlying the exhilarating new socialist life portrayed on the stage. This play, enormously influential when it first appeared, illustrates the utopian vision of China’s lyrical age and its underlying discontents—both of which are critical for understanding late-twentieth-century China. Tang closes with an examination of post–Cultural Revolution nostalgia for the passion of the lyrical age.
Throughout Chinese Modern Tang suggests a historical and imaginative affinity between apparently separate literatures and cultures. He thus illuminates not only Chinese modernity but also the condition of modernity as a whole, particularly in light of the postmodern recognition that the market and commodity culture are both angel and devil. This elegantly written volume will be invaluable to students of China, Asian studies, literary criticism, and cultural studies, as well as to readers who study modernity.

Customer Reviews:

Zhang Xudong's book more helpful.......2002-09-05

Personally I find Zhang Xudong's book on Chinese modernism more helpful than Tang's to put together a panorama of contemporary China. Theoretically, Zhang's book is also more substantial. Tang's book is not as inspiring. But actually, both Zhang and Tang are from the prestigious literature program at Duke. They might have got similar training there at Duke under Jameson. Maybe they are different in terms of styles. Finally, I admit that I took Zhang's class at NYU and I had a good time. Maybe I should try Tang at Chicago too.

colonial expertise on Taiwan?.......2002-06-30

I did not know that Prof Tang is an expert on Taiwan. I guess nobody in Taiwan thinks so! This book, briefly mentioning a secondary writer in Taiwan, exactly shows that this book and this scholar are equipped very limited knowledge of Taiwan. It is odd to subjugate Taiwan modernity under Chinese modern. There should be another book on Taiwan modern. I find it horrible that those who do not know Taiwan well can claim any expertise on Taiwan. It sounds so colonial.

overshadowed by Fred Jameson.......2002-06-20

It seems that the author is very eager to let the reader know that he is fully influenced by Fred Jameson. Long famous for his translation of Jameson and training from Jameson, Tang might be priviledged, but I am afraid, he is also overshadowed by Jameson at the same time. In the book, the Jameson's presence is here and there. I do not know if it is a sign of the writer's piety to the guru, or if it means the writer has no other resources. Jameson is great, true. But when a scholar has had stuck to Jameson for more than one decade, it is weird. I recall that Professor Tang collaborates with Professor Liu Kang (Penn State U) from time to time. I have to say that I see Liu's hardwork and scholarship in his book, MARXISM AND AESTHETICS, but I do not see anything similar in CHINESE MODERN. It is not as theoretical as it should be (even when it is theoretical, it is from Jameson), and it does not provide interesting textual analysis. In one book, I see breakthrough, but I do not see something similar in the other book. As a lover of Lu Xun, I am not impressed at all by Tang's reading of Lu Xun. It is flat, and not inspiring. I insist that we can read Lu Xun more creatively, as long as we are still open to the intellectual input of theoretical training. I totally forget what Tang has written about Lu Xun, but I am so impressed with the highly quotable studies on Marxism and Maoism in Liu's book. TO be honest, I am disappointed with CHINESE MODERN. Fortunately, I have collected enouogh books by Jameson, and I can read them directly without any relay process.

not up to its ambition.......2002-06-16

The book, as thick as it is, looks ambitious. However, I find it is not up to its ambition. For two things: (a) this book is not theoretical enough. Sure, the academic books do not need to be theoretical. However, this book, situated in a series edited by Fred Jameson, could have been more theoretical than it is now. It is theoretical, at least for 2 reasons. (i) the book employs the idea of INTERIORITY (p. 373) generously. However, what is this interiority in question? The book fails to theorize it sufficiently. It simply treats the term as an everyday word, but it is NOT. The book fails to include consideration of, say, Merleau-Ponty, who is such a important figure on Interiority. I do not understand why Merleau-Ponty is not mentioned at all when the book is so dependent on INTERIORITY. (ii) The book relies on many shorthand words of psychoanalysis too. But again, the terminology of psychoanalysis is more like decoration than locomation in the book. What is DESIRE? What is SUBJECTIVITY? They are not everyday words, but they are not theoretically laid out in the book. The book simply assumes that they do not need to be theorized. If such is the case, WHY does the book depend on the decoration of psychoanalysis in the first place? (b) another minor question, which can be important too. Professor Tang is famous in Chicago University for his academic interest in Taiwan studies, Chinese female studies, woodcut print aesthetics etc. Now I would like to interrogate why Professor Tang will choose the Taiwanese writer Xiaoye in the book. Xiaoye is a popular writer in Taiwan, and more and more popularized. He used to write more serious literature, but currently his works tend to be catering to the wider readership. It is fine. But my questions are (i) When Xiaoye is so characterized with "Taiwaneseness," which cannnot be conflated with "Chineseness," how can Xiaoye be situated under the rubric of "The Chinese Modern"? The tension between "Taiwaneseness" and "Chineseness" has been a heated topic among acadmics, but Professor Tang bypasses the tension easily. (ii) Desite Xiaoye's fame and popularity, he is not a landmark of (literary) modernism in Taiwan at all. He is not the person to choose; every common reader on Taiwan Lit and in Taiwan knows this. There are so many other writers in Taiwan to choose, who provide much better representation of Taiwan modernity. Interested people can consult the books by Prof David Wang, who is teaching at Columbia U in New York. Professor Tang's preference of Xiaoye is totally confusing. Xiaoye is never considered a landmark of Taiwan modernity in the Taiwan literary histriography. Professor Tang seems to have randomly picked up his samples. But the randomness is in fact puzzling. A discussion of Xiaoye really does not help the reader understand the modernity of Taiwan. The emphasis on Xiaoye should have been sufficiently legitimized in the book, which is thick enough to accommodate better argumentation.

Chinese Modernity and Global Biopolitics: Studies in Literature and Visual Culture

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Chinese Modernity and Global Biopolitics: Studies in Literature and Visual Culture
H Lu Sheldon
Manufacturer: University of Hawaii Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0824831772

Book Description

This ambitious work is a multimedia, interdisciplinary study of Chinese modernity in the context of globalization from the late nineteenth century to the present. Sheldon Lu draws on Chinese literature, film, art, photography, and video to broadly map the emergence of modern China in relation to the capitalist world-system in the economic, social, and political realms. Central to his study is the investigation of biopower and body politics, namely, the experience of globalization on a personal level.

Lu first outlines the trajectory of the body in modern Chinese literature by focusing on the adventures, pleasures, and sufferings of the male (and female) body in the writings of selected authors. He then turns to avant-garde and performance art, tackling the physical self more directly through a consideration of work that takes the body as its very theme, material, and medium. In an exploration of mass visual culture, Lu analyzes artistic reactions to the multiple, uneven effects of globalization and modernization on both the physical landscape of China and the interior psyche of its citizens. This is followed by an investigation of contemporary Chinese urban space in popular cinema and experimental photography and art. Examples are offered that capture the daily lives of contemporary Chinese as they struggle to make the transition from the vanishing space of the socialist lifestyle to the new capitalist economy of commodities. Lu reexamines the history and implications of China's belated integration into the capitalist world system before closing with a postscript that traces the genealogy of the term "postsocialism" and points to the real relevance of the idea for the examination of everyday life in China in the twenty-first century.

Book Description

This ambitious work offers a comprehensive mapping of the cultural landscape of China in the late twentieth century. By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the book dissects the intellectual, economic, and political contradictions of a turbulent era—post-cold war, postsocialist, and postmodern—in China’s history.

The author defines the emergent logic of Chinese postmodernity within a dominant system of global capitalism and points to the central role of the transnational flow of visual culture in the establishment of local and national identity. The Chinese case demonstrates that the old conceptual scheme of Euro-American postmodernism versus Third World national culture is no longer feasible.

This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history. Part I reviews the raging critical debates about the public sphere, the academy, intellectual identity, cultural politics, and economic globalization, in the process examining the Chinese appropriation of discourses of modernity, postmodernity, and postcoloniality.

Part II investigates the impact of globalization and diaspora on the formation of citizenship and nationality as articulated in mainland Chinese and Hong Kong films. Part III probes issues of post-orientalism, postmodernism, and strategies of representation in contemporary Chinese art. Part IV studies pop music, soap opera, and literary bestsellers, pinpointing the dialectic and mediating function of popular culture amid the forces of official socialist ideology, capitalist commodification, mass entertainment, and transnational images in contemporary China. Overall, the book is an insightful analysis of the ironies of the cultural logic of Chinese socialism in a period that has seen accelerated economic integration into the capitalist world system, but without major political change.

The Chinese Postmodern: Trauma and Irony in Chinese Avant-Garde Fiction

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The Chinese Postmodern: Trauma and Irony in Chinese Avant-Garde Fiction
Xiaobin Yang
Manufacturer: University of Michigan Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0472112414

Book Description

The Chinese Postmodern is a pioneering study of today's Chinese experimental fiction, exploring the works of such major writers as Can Xue, Ge Fei, Ma Yuan, Mo Yan, Xu Xiaohe, and Yu Hua from the perspective of cultural and literary postmodernity. Focusing on the interplay between historical psychology and representational mode, and between political discourse and literary rhetoric, it examines the problem of Chinese postmodernity against the background of the cultural-political reality of twentieth-century China.

The book seeks to redefine Chinese modernity and postmodernity through the analyses of both orthodox and avant-garde works. In doing so, the author draws on a number of theories, psychoanalysis and deconstruction in particular, revealing the hidden connection between the deconstructive mode of writing and the experience of history after trauma and showing how avant-garde literature brings about a varied literary paradigm that defies the dominant, subject-centered one in twentieth-century China.

The distinctiveness of The Chinese Postmodern is also found in its portrayal of the changes of literary paradigms in modern Chinese literature. By way of characterizing avant-garde fiction, it provides an overview of twentieth-century Chinese literature and offers a theorization of the intellectual history of modern China. Other issues concerning literary theory are explored, including the relationships between postmodernity and totalitarian discourse, between historical trauma and literary writing, and between psychic trauma and rhetorical irony. This book will appeal to readers in the fields of Chinese literature and culture, modern Chinese history, literary theory, and comparative literature.

Xiaobin Yang is Croft Assistant Professor, University of Mississippi.

Inside Out: Modernism and Postmodernism in Chinese Literary Culture

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Inside Out: Modernism and Postmodernism in Chinese Literary Culture
Wendy Larson
Manufacturer: Aarhus Univ Pr
ProductGroup: Book
Binding: Hardcover

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ASIN: 8772884274

The educational reforms in the cultural revolution in China: a postmodern critique.: An article from: Education

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The educational reforms in the cultural revolution in China: a postmodern critique.: An article from: Education
Guofang Wan
Manufacturer: Project Innovation (Alabama)
ProductGroup: Book
Binding: Digital

Book Description

This digital document is an article from Education, published by Project Innovation (Alabama) on September 22, 2001. The length of the article is 5419 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: The educational reforms in the cultural revolution in China: a postmodern critique.
Author: Guofang Wan
Publication: Education (Refereed)
Date: September 22, 2001
Publisher: Project Innovation (Alabama)
Volume: 122 Issue: 1 Page: 21(12)

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90 nian dai de "hou xue" lun zheng (Xianggang Zhong wen da xue Zhongguo wen hua yan jiu suo er shi yi shi ji lun cong)

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90 nian dai de "hou xue" lun zheng (Xianggang Zhong wen da xue Zhongguo wen hua yan jiu suo er shi yi shi ji lun cong)

Manufacturer: Zhong wen da xue chu ban she
ProductGroup: Book
Binding: Unknown Binding

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