Madmen In Shanghai

Madmen in Shanghai: A Social History of Advertising in Modern China (1914–1956) provides a novel perspective on the emergence of Chinese consumer society through an extensive historical investigation of the advertising industry in pre-Communist China. Utilizing a diverse array of previously unexplored primary sources, including professional literature, newspapers, photographs, and municipal archives, it charts the development and growing influence of the advertising profession, fostered by professional organizations, agencies, and prominent practitioners. It underscores the crucial role of this hybrid and transnational profession in introducing an expanding array of consumer products and in shaping the enduring narrative of the “four hundred million customers.” This book will be of interest to scholars specializing in modern Chinese history, urban and consumer studies, media and mass communication, and also for professionals engaged in the fields of advertising and marketing.

Madmen in Shanghai: A Social History of Advertising in Modern China (1914–1956) provides a novel perspective on the emergence of Chinese consumer society through an extensive historical investigation of the advertising industry in pre-Communist China. Utilizing a diverse array of previously unexplored primary sources, including professional literature, newspapers, photographs, and municipal archives, it charts the development and growing influence of the advertising profession, fostered by professional organizations, agencies, and prominent practitioners. It underscores the crucial role of this hybrid and transnational profession in introducing an expanding array of consumer products and in shaping the enduring narrative of the “four hundred million customers.” This book will be of interest to scholars specializing in modern Chinese history, urban and consumer studies, media and mass communication, and also for professionals engaged in the fields of advertising and marketing.

Madmen in Shanghai: A Social History of Advertising in modern China (1914-1956) provides a novel perspective on the emergence of Chinese consumer society through an extensive historical investigation of the advertising industry in pre-Communist China. Utilizing a diverse array of previously unexplored primary sources, including professional literature, newspapers, photographs, and municipal archives, it charts the development and growing influence of the advertising profession, fostered by professional organizations, agencies, and prominent practitioners. It underscores the crucial role of this hybrid and transnational profession in introducing an expanding array of consumer products and in shaping the enduring narrative of the "four hundred million customers." This book will be of interest to scholars specializing in modern Chinese history, urban and consumer studies, media and mass communication, and also for professionals engaged in the fields of advertising and marketing.

A. C. Scott's first visit to China in 1946 marked the beginning of a personal involvement with that nation's people and culture that would prove singular in its intensity, intimacy, and joy. Now, more than three decades later, an eminent Western authority on Asian theatre looks back on those early years of discovery in a memoir that is at once compelling drama and vividly etched history. This is an explorer's impressions of a world which few foreigners have ever seen and a scholar's unique depiction of pre-liberation China, its society, customs, and theatre, before the final curtain fell. For anyone interested in Chinese culture, history, or drama, or intrigued by the increasingly rare genre of travelogue, Scott's achievement will prove both enjoyable and invaluable.

This book explores the rise of Shanghai-based popular magazines produced by the “Mandarin Ducks and Butterflies School” in early twentieth-century China. It examines the national, gender, family, and social imaginaries constructed and negotiated through a complex network of relationships between popular writers, magazine editors, and their intended readers, which were represented in various forms of popular narratives, including patriotic stories, war/military stories, family narratives, domestic fiction, utopian writings, and industrial-business stories. The author argues that the national imagination, social ideals, and the notions of ideal womanhood and the new family, were intrinsically linked and integral to the search for cultural identity of the emerging Chinese “middle society” and an expression of their collective sensibilities, experiences, and aspirations. This book suggests that the cultural imaginaries configurated in these magazine stories articulated a shared quest for modernity, one that emphasized sentiment, quotidian experience, the pursuit of the modern family and individual success, strengthening of the nation, and the reinvention of cultural tradition. Popular magazines and fiction, therefore, became uniquely instrumental in catalyzing the process of Chinese modernity, which emerged and developed along the symbiotic interrelations between the private and the public, the traditional and the modern, and the real and the imaginary.

DIVDIVIn Edward Whittemore’s masterful and surreal alternate history, a man’s search for answers about his vanished parents propels him on an odyssey from the present into the past, from a bar in the Bronx to Tokyo and Shanghai during the Second World War /divDIV Quin, born in China and raised in the Bronx, is orphaned in the closing days of the Second World War when his parents go missing and are presumed dead in Shanghai. Years later, in a Bronx bar, Quin encounters a stranger who hints that he can uncover the secrets of his past by accompanying Big Gobi, an adult orphan too simpleminded to travel alone, on a journey to meet his guardian in Tokyo. Quin arrives in Japan determined to uncover the truth about his parents’ past, but his search soon raises more questions than answers. What are the connections between a Russian anarchist, a one-eyed baron who is head of the Japanese secret service known as the Kempeitai, and the atrocities committed during the rape of Nanking? And what does any of it have to do with Quin’s parents?/divDIV Part espionage novel and part surreal fantasy, Quin’s Shanghai Circus, the first novel by Edward Whittemore, is a remarkable and audacious literary feat. Alive with a fascinating cast of characters and equally enthralling turns of events, former CIA officer Whittemore offers readers a mesmerizing glimpse at a secret history of the twentieth century./divDIV/div/div

Madmen, Intellectuals, and Academic Scribblers presents a simple, economic framework for understanding the systematic causes of political change. Wayne A. Leighton and Edward J. López take up three interrelated questions: Why do democracies generate policies that impose net costs on society? Why do such policies persist over long periods of time, even if they are known to be socially wasteful and better alternatives exist? And, why do certain wasteful policies eventually get repealed, while others endure? The authors examine these questions through familiar policies in contemporary American politics, but also draw on examples from around the world and throughout history. Assuming that incentives drive people's decisions, the book matches up three key ingredients—ideas, rules, and incentives—with the characters who make political waves: madmen in authority (such as Franklin Delano Roosevelt and Margaret Thatcher), intellectuals (like Jon Stewart and George Will), and academic scribblers (in the vein of Friedrich Hayek and John Maynard Keynes). Political change happens when these characters notice holes in the structure of ideas, institutions, and incentives, and then act as entrepreneurs to shake up the status quo.

Madmen and Other Survivors: Reading Lu Xun's Fiction puts the short stories written by this outstanding Chinese writer between 1918 and 1926 into a broad context of Modernism. The fiction of Lu Xun (1881–1936) deals with the China moving beyond the 1911 Revolution. He asks about the possibilities of survival, and what that means, even considering the possibility that madness might be a strategy by which that is possible. Such an idea calls identity into question, and Lu Xun is read here as a writer for whom that is a wholly problematic concept. The book makes use of critical and cultural theory to consider these short stories in the context of not only Chinese fiction, but in terms of the art of the short story, and in relation to literary modernism. It attempts to put Lu Xun into as wide a perspective as possible for contemporary reading. To make his work widely accessible, he is treated here in English translation.