A Conceptual History Of Chinese Isms

In A Conceptual History of Chinese -Isms, Ivo Spira explores the linguistic and rhetorical development of Chinese -isms, as well as the key concept zhǔyì 主義 ('ism') itself. He argues that the introduction of this concept from Japan in the 1890s inaugurated an 'Age of -Isms', in which it served as a conceptual focus for the stereotypical categorization of people and the utopian imagination of the future. The book focuses on Chinese -isms in the formative period (1895–1925) through a close reading of key primary sources, covering linguistic, conceptual, and rhetorical aspects of their use in ideological reasoning. Spira emphasizes the combination of internal (traditional) and external (Western and Japanese) factors in the emergence of Chinese -isms.

This is a novel, transnational exploration of the major Chinese intellectual debates on radicalism in history, culture, and politics after 1989.

What is—and what was—“the world”? Though often treated as interchangeable with the ongoing and inexorable progress of globalization, concepts of “world,” “globe,” or “earth” instead suggest something limited and absolute. This innovative and interdisciplinary volume concerns itself with this central paradox: that the complex, heterogeneous, and purportedly transhistorical dynamics of globalization have given rise to the idea and reality of a finite—and thus vulnerable—world. Through studies of illuminating historical moments that range from antiquity to the era of Google Earth, each contribution helps to trace the emergence of the world in multitudinous representations, practices, and human experiences.

The three-volume project 'Concepts and Methods for the Study of Chinese Religions' is a timely review of the history of the study of Chinese religions, reconsiders the present state of analytical and methodological theories, and initiates a new chapter in the methodology of the field itself. The three volumes raise interdisciplinary and cross-tradition debates, and engage methodologies for the study of East Asian religions with Western voices in an active and constructive manner. Within the overall project, this volume addresses the intellectual history and formation of critical concepts that are foundational to the Chinese religious landscape. These concepts include lineage, scripture, education, discipline, religion, science and scientism, sustainability, law and rites, and the religious sphere. With these topics and approaches, this volume serves as a reference for graduate students and scholars interested in Chinese religions, the modern cultural and intellectual history of China (including mainland China, Taiwan, Hong Kong, and Chinese communities overseas), intellectual and material history, and the global academic discourse of critical concepts in the study of religions.

Choose the right methodological tools to answer your research question and know how to use them with this anthology of textual analysis approaches. Each chapter provides not only relevant theoretical background behind each methodology, but also its advantages and challenges, its potential applications, and its relationship to studying social phenomenon. Through step-by-step worked examples of real-world data, you get an in-depth window into each method in action and learn how to apply the same techniques successfully and confidently in your own research. Methods include: • Content analysis • Narrative analysis • Critical discourse studies • Multimodal discourse analysis

This book examines how Asianism became a key concept in mainstream political discourse between China and Japan and how it was used both domestically and internationally in the contest for political hegemony. It argues that, from the early 1910s to the early 1930s, this contest changed Chinese and Japanese perceptions of ‘Asia’, from a concept that was foreign-referential, foreign-imposed, peripheral, and mostly negative and denied (in Japan) or largely ignored (in China) to one that was self-referential, self-defined, central, and widely affirmed and embraced. As an ism, Asianism elevated ‘Asia’ as a geographical concept with culturalist-racialist implications to the status of a full-blown political principle and encouraged its proposal and discussion vis-à-vis other political doctrines of the time, such as nationalism, internationalism, and imperialism. By the mid-1920s, a great variety of conceptions of Asianism had emerged in the transnational discourse between Japan and China. Terminologically and conceptually, they not only paved the way for the appropriation of ‘Asia’ discourse by Japanese imperialism from the early 1930s onwards but also facilitated the embrace of Sino-centric conceptions of Asianism by Chinese politicians and collaborators.

China's past and present have been in a continuous dialogue throughout history, one that is heavily influenced by time and language: the temporal orientation and the linguistic apparatus used to express and solidify identity, ideas, and practices. Presenting a host of in-depth case studies, Time and Language: New Sinology and Chinese History argues for and demonstrates the significance of "New Sinology" by restoring the role of language/philology in the research and understanding of how modern China emerged. Reading the modern as a careful and ongoing conversation with the past renders the "new" in a different perspective. This volume is a significant step toward a new historical narrative of China's modern history, one wherein "ruptures" can exist in tandem with continuities. The collection accentuates the deep connection between language and power--one that spans well across China's long past--and hence the immense consequences of linguistic-related methodology to the comprehension of power structures and identity in China. Each of the essays in this volume tackles these issues, the methodological and the thematic, from a different angle but they all share the Sinological prism of analysis and the basic understanding that a much longer timeframe is required to make sense of Chinese modernity. The languages examined are diverse, including modern and classical Chinese, as well as Manchu and Japanese. Taken together they bring a spectrum of linguistic perspectives and hence a spectrum of power relations and identities to the forefront. While the essays focus on late Qing and early twentieth-century eras, they refer often to earlier periods, which are necessary to making real sense of later eras. The methodological and the thematic do not only converge, but also generate a plea for fostering and expanding this approach in current and future studies.

Performing the Socialist State offers an innovative account of the origins, evolution, and legacies of key trends in twentieth-century Chinese theater. Instead of seeing the Republican, high socialist, and postsocialist periods as radically distinct, it identifies key continuities in theatrical practices and shared aspirations for the social role and artistic achievements of performance across eras. Xiaomei Chen focuses on the long and remarkable careers of three founders of modern Chinese theater and film, Tian Han, Hong Shen, and Ouyang Yuqian, and their legacy, which helped shape theater cultures into the twenty-first century. They introduced Western plays and theories, adapted traditional Chinese operas, and helped develop a tradition of leftist theater in the Republican period that paved the way for the construction of a socialist canon after 1949. Chen investigates how their visions for a free, democratic China fared in the initial years after the founding of the People’s Republic, briefly thriving only to founder as artists had to adapt to the Communist Party’s demand to produce ideologically correct works. Bridging the faith play and “antiparty plays” of the 1950s, the “red classics” of the 1960s, and their reincarnations in the postsocialist period, she considers the transformations of the depictions of women, peasants, soldiers, scientists, and revolutionary history in plays, operas, and films and examines how the market economy, collective memories, star culture, social networks, and state sponsorship affected dramatic productions. Countering the view that state interference stifles artistic imagination, Chen argues that theater professionals have skillfully navigated shifting ruling ideologies to create works that are politically acceptable yet aesthetically ingenious. Emphasizing the power, dynamics, and complexities of Chinese performance cultures, Performing the Socialist State has implications spanning global theater, comparative literature, political and social histories, and Chinese cultural studies.