Revealing Reveiling Shanghai

Revealing/Reveiling Shanghai provides international and interdisciplinary perspectives on representations of Shanghai, a contested location within political discourse and cultural imagination. Shanghai's complex history as a quasi-colonial city, and its contradictory identity as the birthplace of Communist China and the epitome of twenty-first-century capitalism, make it an especially fascinating subject. Contributors examine representations of Shanghai in film, art, literature, memoir, theater, and mass media from the past one hundred years. They address the ways in which texts from the late twentieth and early twenty-first centuries have rewritten past and present Shanghai to reflect our own wishes and anguishes, show how the city resists static interpretations, and challenge notions of authentic representation and identity. By revealing and questioning persistent stereotypes and constructed versions of East and West, the essays offer diverse views so as to create a genuine exchange with contemporary global audiences. A wide variety of texts are discussed, including the films Street Angel (1937) and The White Countess (2005), and the novels The Song of Everlasting Sorrow (1996) and Shanghai Baby (1999).

Revealing/Reveiling Shanghai provides international and interdisciplinary perspectives on representations of Shanghai, a contested location within political discourse and cultural imagination. Shanghai's complex history as a quasi-colonial city, and its contradictory identity as the birthplace of Communist China and the epitome of twenty-first-century capitalism, make it an especially fascinating subject. Contributors examine representations of Shanghai in film, art, literature, memoir, theater, and mass media from the past one hundred years. They address the ways in which texts from the late twentieth and early twenty-first centuries have rewritten past and present Shanghai to reflect our own wishes and anguishes, show how the city resists static interpretations, and challenge notions of authentic representation and identity. By revealing and questioning persistent stereotypes and constructed versions of East and West, the essays offer diverse views so as to create a genuine exchange with contemporary global audiences. A wide variety of texts are discussed, including the films Street Angel (1937) and The White Countess (2005), and the novels The Song of Everlasting Sorrow (1996) and Shanghai Baby (1999).

Silencing Shanghai investigates the paradoxical and counterintuitive contrast between Shanghai’s emergence as a global city and the marginalization of its native population, captured through the rapid decline of the distinctive Shanghai dialect. From this unique vantage point, Fang Xu tells a story of power relations in a cosmopolitan metropolis closely monitored and shaped by an authoritarian state through policies affecting urban redevelopment, internal migration, and language. These state policies favor the rich, the resourceful, and the highly educated, while alienate the poorer and less educated Shanghainese geographically and linguistically. When the state vigorously promotes Mandarin Chinese through legal and administrative means, Shanghainese made the conscious yet reluctant choice of shifting from the dialect to the national language. At the same time, millions of migrants have little incentive to adopt the vernacular given that their relation to the state has already firmly established their legal, financial, and social standing in the city. The recent shift in the urban linguistic scene that silences the Shanghai dialect is ultimately part of the state-led global city-building process. Through the association of the use of national language with realizing the "China Dream," the state further eliminates the unique vernacular characters of Shanghai.

Examining the stories of diverse Christians in Shanghai, this book uses the city as a model to highlight how a minority religion in a city has interacted with other religions as well as social, cultural, political, and economic changes. Susangeline Y. Patrick illustrates how the history of Shanghai Christians sheds light on why and how Christians have accommodated social and political changes, and gives valuable insights into multiculturalism, globalization, sinicization, and ecclesiology. The interreligious dialogues between Shanghai Christians and other traditions such as Buddhism, Daoism, Confucianism, Islam, and Judaism throughout history provide worthy reflections on the roles of Christians in a multi-religious space.

A lively, accessible and authoritative introduction to the work of Kazuo Ishiguro, one of the leading novelists of our time.

This book proposes that Ballard’s novels extrapolate the formation of a posthuman subjectivity that is centred around an affirmative understanding of what a human body can do. This new subjectivity transforms constraints and prescribed desires into creative openings in a hyper-mediated control society that conditions docile bodies through technology and consumerism. Set in surrealist predicaments in postwar affluent Western societies, Ballard’s novels remind us of the fragile veneer of order in the familiar every day. In these moments of crisis, complacent characters are compelled to undergo a process of defamiliarisation and transformation of their understanding of the self and the body. The ability to form new relationships with the unfamiliar is imperative to survival in a hostile environment. Ballard delineates both the possibilities and obstacles of forming these relationships. In particular, the author attributes the failure to do so to the irreconcilable contradictions of late capitalism.

Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th century envisioned and enacted their own revolutions through the materiality of the theater apparatus.

Analyzes how fangyan (local Chinese languages or dialects) were central to the creation of modern Chinese nationalism.