Chinese Modern

DIVAn analysis of the Chinese experience of modernity through the literary works, films and other cultural artifacts that represent it. /div

Medical care in nineteenth-century China was spectacularly pluralistic: herbalists, shamans, bone-setters, midwives, priests, and a few medical missionaries from the West all competed for patients. This book examines the dichotomy between "Western" and "Chinese" medicine, showing how it has been greatly exaggerated. As missionaries went to lengths to make their medicine more acceptable to Chinese patients, modernizers of Chinese medicine worked to become more "scientific" by eradicating superstition and creating modern institutions. Andrews challenges the supposed superiority of Western medicine in China while showing how "traditional" Chinese medicine was deliberately created in the image of a modern scientific practice.

Klaus Mühlhahn situates modern China in the nation's long, dynamic tradition of overcoming adversity and weakness through creative adaptation--a legacy of crisis and recovery that is apparent today in China's triumphs but also in its most worrisome trends. Mühlhahn's panoramic survey rewrites the history of modern China for a new generation.

This book examines four canonical Chinese writers (Xiao Hong, Yu Dafu, Lao She, and Zhang Ailing) in relation to their translations, interpellations, and interpretations in different languages.

Xinjiang and the Modern Chinese State views modern Chinese political history from the perspective of Han officials who were tasked with governing Xinjiang. This region, inhabited by Uighurs, Kazaks, Hui, Mongols, Kirgiz, and Tajiks, is also the last significant “colony” of the former Qing empire to remain under continuous Chinese rule throughout the twentieth century. By foregrounding the responses of Chinese and other imperial elites to the growing threat of national determination across Eurasia, Justin Jacobs argues for a reconceptualization of the modern Chinese state as a “national empire.” He shows how strategies for administering this region in the late Qing, Republican, and Communist eras were molded by, and shaped in response to, the rival platforms of ethnic difference characterized by Soviet and other geopolitical competitors across Inner and East Asia. This riveting narrative tracks Xinjiang political history through the Bolshevik revolution, the warlord years, Chinese civil war, and the large-scale Han immigration in the People’s Republic of China, as well as the efforts of the exiled Xinjiang government in Taiwan after 1949 to claim the loyalty of Xinjiang refugees.

This book provides a comprehensive account of Chinese historiography on modern China. It examines the major master narratives and modes of narration in representing the events and overarching themes in modern Chinese history.

Two of the most stylized shots in cinema—the close-up and the long shot—embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer’s power to see, feel, and conceive. To understand why a director prefers one type of shot over the other then is to explore more than aesthetics: It uncovers significant assumptions about film as an art of intervention or organic representation. Close-ups and Long Shots in Modern Chinese Cinemas is the first book to compare these two shots within the cultural, historical, and cinematic traditions that produced them. In particular, the global revival of Confucian studies and the transnational appeal of feminism in the 1980s marked a new turn in the composite cultural education of Chinese directors whose shot selections can be seen as not only stylistic expressions, but ethical choices responding to established norms about self-restraint, ritualism, propriety, and female agency. Each of the films discussed—Zhang Yimou’s Red Sorghum, Ang Lee’s Lust, Caution, Hou Hsiao-hsien’s The Assassin, Jia Zhangke’s I Wish I Knew, and Wei Desheng’s Cape No. 7— represents a watershed in Chinese cinemas that redefines the evolving relations among film, politics, and ethics. Together these works provide a comprehensive picture of how directors contextualize close-ups and long shots in ways that make them interpretable across many films as bellwethers of social change.

One of the most creative and brilliant episodes in modern Chinese history, the cultural and literary flowering that takes the name of the May Fourth Movement, is the subject of this comprehensive and insightful book. This is the first study of modern Chinese literature that shows how China's Confucian traditions were combined with Western influences to create a literature of new values and consciousness for the Chinese people.