Beyond The May Fourth Paradigm

When did China make the decisive turn from tradition to modernity? For decades, the received wisdom would have pointed to the May Fourth movement, with its titanic battles between the champions of iconoclasm and the traditionalists, and its shift to more populist forms of politics. A growing body of recent research has, however, called into question how decisive the turn was, when it happened, and what relation the resulting modernity bore to the agendas of people who might have considered themselves representatives of such an iconoclastic movement. Having thus explicitly or implicitly 'decentered' the May Fourth, such research (augmented by contributions in the present volume) leaves us with the task of accounting for the shape Chinese modernity took, as the product of dialogues and debates between, and the interplay of, a variety of actors and trends, both within and (certainly no less importantly) without the May Fourth camp.

Beyond the May Fourth Paradigm explores various dimensions of modern Chinese culture, ranging from literature, thought, and music to scientific research, business, and everyday life. By heeding how the May Fourth and non-May Fourth groups depended on each other and joined forces in creating Chinese modernity, this anthology points to the significant directions that Chinese historical actors chose as they competed but also collaborated in modernizing themselves, their culture, and the nation.

Remembering May Fourth: The Movement and its Centennial Legacy discusses a wide range of issues concerning the relations between politics and memory, writing and ritualizing, fiction and reality, and theory and practice within the context of the May Fourth movement.

China is emerging as a new superpower in science and technology, reflected in the success of its spacecraft and high-velocity Maglev trains. While many seek to understand the rise of China as a technologically-based power, the Cultural Revolution of the 1960s may seem an unlikely era to explore for these insights. Despite the widespread verdict of the Great Proletarian Cultural Revolution as an unmitigated disaster for China, a number of recent scholars have called for re-examining Maoist science--both in China and in the West. At one time Western observers found much to admire in Chairman Mao's mass science, his egalitarian effort to take science out of the ivory tower and place it in the hands of the disenfranchised peasant, the loyal worker, and the patriot soldier. Chunjuan Nancy Wei and Darryl E. Brock have assembled a rich mix of talents and topics related to the fortunes and misfortunes of science, technology, and medicine in modern China, while tracing its roots to China's other great student revolution--the May Fourth Movement. Historians of science, political scientists, mathematicians, and others analyze how Maoist science served modern China in nationalism, socialism, and nation-building--and also where it failed the nation and the Chinese people. If the Cultural Revolution contributed to China's emerging space program and catalyzed modern malaria treatments based on Traditional Chinese Medicine, it also provided the origins of a science talent gap and the milieu from which a one-child policy would arise. Given the fundamental importance of China today, and of East Asia generally, it is imperative to have a better understanding of its most recent scientific history, but especially that history in a period of crisis and how that crisis was resolved. What is at issue here is not only the specific domain of the history of science, but the social and scientific policies of China generally as they developed and were applied prior to, during, and after the Cultural Revolution.

In Shanghai Filmmaking, Huang Xuelei invites readers to go on an intimate, detailed, behind-the-scenes tour of the world of early Chinese cinema. She paints a nuanced picture of the Mingxing Motion Picture Company, the leading Chinese film studio in the 1920s and 1930s, and argues that Shanghai filmmaking involved a series of border-crossing practices. Shanghai filmmaking developed in a matrix of global cultural production and distribution, and interacted closely with print culture and theatre. People from allegedly antagonistic political groupings worked closely with each other to bring a new form of visual culture and a new body of knowledge to an audience in and outside China. By exploring various border crossings, this book sheds new light on the power of popular cultural production during China’s modern transformation.

Through an investigation of 20th-century Chinese student protest, Lanza considers the marriage of the cultural and the political, the intellectual and the quotidian, that occurred during the May Fourth movement, along with its rearticulation in subsequent protest.

The Horizon of Modernity provides a historicized account of New Confucian philosophy in relation to the contemporary revival of Confucianism and explores the nexus between subjectivity and social structure in the works of Mou Zongsan, Tang Junyi, and Xiong Shili.

During the Mao era, China’s museums served an explicit and uniform propaganda function, underlining official Party history, eulogizing revolutionary heroes, and contributing to nation building and socialist construction. With the implementation of the post-Mao modernization program in the late 1970s and 1980s and the advent of globalization and market reforms in the 1990s, China underwent a radical social and economic transformation that has led to a vastly more heterogeneous culture and polity. Yet China is dominated by a single Leninist party that continues to rely heavily on its revolutionary heritage to generate political legitimacy. With its messages of collectivism, self-sacrifice, and class struggle, that heritage is increasingly at odds with Chinese society and with the state’s own neoliberal ideology of rapid-paced development, glorification of the market, and entrepreneurship. In this ambiguous political environment, museums and their curators must negotiate between revolutionary ideology and new kinds of historical narratives that reflect and highlight a neoliberal present. In Exhibiting the Past, Kirk Denton analyzes types of museums and exhibitionary spaces, from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories. Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.