The Chinese Eye

This book, first published in 1935, examines the world of Chinese painting: the background, styles, audience and reception, intentions and achievements. Written with a Western readership in mind, it intends to put Chinese visual art in the perspective of its history and culture, and clarify its ideas and meanings.

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the British visual imagination. Chang brings together an unusual group of primary sources to investigate how nineteenth-century Britons looked at and represented Chinese people, places, and things, and how, in the process, ethnographic, geographic, and aesthetic representations of China shaped British writers' and artists' vision of their own lives and experiences. For many Britons, China was much more than a geographical location; it was also a way of seeing and being seen that could be either embraced as creative inspiration or rejected as contagious influence. In both cases, the idea of China's visual difference stood in negative contrast to Britain's evolving sense of the visual and literary real. To better grasp what Romantic and Victorian writers, artists, and architects were doing at home, we must also understand the foreign "objects" found in their midst and what they were looking at abroad.

Born in Vancouver in 1920 to immigrant parents, Lin became a passionate advocate for China while attending university in the United States. With the establishment of the People's Republic, and growing Cold War sentiment, Lin abandoned his doctoral studies, moving to China with his wife and two young sons. He spent the next fifteen years participating in the country's revolutionary transformation. In 1964, concerned by the political climate under Mao and determined to bridge the growing divide between China and the West, Lin returned to Canada with his family and was appointed head of McGill University's Centre for East Asian Studies. Throughout his distinguished career, Lin was sought after as an authority on China. His commitment to building bridges between China and the West contributed to the establishment of diplomatic relations between Canada and China in 1970, to US President Richard Nixon's visit to China in 1972, and to the creation of numerous cultural, academic, and trade exchanges. In the Eye of the China Storm is the story of Paul Lin's life and of his efforts - as a scholar, teacher, business consultant, and community leader - to overcome the mutual suspicion that distanced China from the West. A proud patriot, he was devastated by the Chinese government's violent suppression of student protestors at Tiananmen Square in June 1989, but never lost faith in the Chinese people, nor hope for China's bright future.

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the modern British visual imagination through a study of gardens, blue and white willow plates, the opium den, and the photograph, and literary texts.

This sweeping, eighty-year memoir is the last work of veteran journalist Israel Epstein (1915-2005), one of the very few Western writers to experience the Chinese Communist Revolution firsthand. Born in Poland and raised in China, Epstein served as a war correspondent from the front lines of the Chinese War of Resistance against Japan, as well as during the Communist-Nationalist struggle. Inspired by the immense social revolution taking place, Epstein took Chinese citizenship, only to be imprisoned during the Cultural Revolution. During this dark period, Epstein found his ideals challenged in ways he never imagined, yet his lifelong struggle for social equality has never wavered. This powerful memoir resonates with some of the twentieth century's most turbulent years and is a fascinating read for anyone interested in Chinese history.

In this remarkably stimulating and erudite series of essays, Eugene Chen Eoyang explores many of the underlying paradigms and presumptions in world literature, highlighting issues of cultural interchange and cultural hegemony. Translation is seen in this perspective as a central rather than a peripheral factor in understanding the meanings of literary works. Taking concrete examples from Chinese literature, Eoyang illuminates not only the semantic collisions that underlie the complexities of translation, but also the cultural identities reflected in language and values. The title alludes to a passage from Emerson, reminding us that the object on view is not only the vision we see but is also the organ through which that vision is apprehended. The confrontation with a radical "other" - which is, for many Westerners, what Chinese literature represents - is thus both a discovery and a self-discovery. Part of the book's originality is that it identifies a new audience - one that is incipiently bicultural, or knowledgeable about what has been called "East" as well as what has been called "West." Readers with an interest in the theory and practice of translation will find this an inspiring and indispensable work, one that prepares the way for a comparative poetics that recognizes the intense subjectivities in every culture and at the same time establishes a basis for a comparison that tries to transcend, even as it acknowledges, provincialities.