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To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: \"China/Avant-Garde\" (Beijing, 1989), \"Inside Out: New Chinese Art\" (Asia Society, New York, 1998), and \"The Wall: Reshaping Contemporary Chinese Art\" (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity -- one not defined by Western chronology or formalism -- Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today. Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term \"modernity\" refers not to a new epoch or aesthetic but to a new nation -- modernityinextricably connects politics to art. It is this notion of \"total modernity\" that forms the foundation of the Chinese avant-garde aesthetic, and of this book. Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the '85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergenceof local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde's embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.

In Tapestry of Light Huang offers an account of the psychic, intellectual, and cultural aftermath of the Cultural Revolution found in the works of prominent Chinese intellectuals, writers, artists and filmmakers.

Shanghai has been demolished and rebuilt into a gleaming megacity in recent decades, now ranking with New York and London as a hub of global finance. But that transformation has come at a grave human cost. This compelling book is the first to apply the concept of domicide—the eradication of a home against the will of its dwellers—to the sweeping destruction of neighborhoods, families, and life patterns to make way for the new Shanghai. Here we find the holdouts and protesters, men and women who have stubbornly resisted domicide and demanded justice. Qin Shao follows, among others, a reticent kindergarten teacher turned diehard petitioner; a descendant of gangsters and squatters who has become an amateur lawyer for evictees; and a Chinese Muslim who has struggled to recover his ancestral home in Xintiandi, an infamous site of gentrification dominated by a well-connected Hong Kong real estate tycoon. Highlighting the wrenching changes spawned by China’s reform era, Shao vividly portrays the relentless pursuit of growth and profit by the combined forces of corrupt power and money, the personal wreckage it has left behind, and the enduring human spirit it has unleashed.

The Color of Successtells of the astonishing transformation of Asians in the United States from the \"yellow peril\" to \"model minorities\"--peoples distinct from the white majority but lauded as well-assimilated, upwardly mobile, and exemplars of traditional family values--in the middle decades of the twentieth century. As Ellen Wu shows, liberals argued for the acceptance of these immigrant communities into the national fold, charging that the failure of America to live in accordance with its democratic ideals endangered the country's aspirations to world leadership. Weaving together myriad perspectives, Wu provides an unprecedented view of racial reform and the contradictions of national belonging in the civil rights era. She highlights the contests for power and authority within Japanese and Chinese America alongside the designs of those external to these populations, including government officials, social scientists, journalists, and others. And she demonstrates that the invention of the model minority took place in multiple arenas, such as battles over zoot suiters leaving wartime internment camps, the juvenile delinquency panic of the 1950s, Hawaii statehood, and the African American freedom movement. Together, these illuminate the impact of foreign relations on the domestic racial order and how the nation accepted Asians as legitimate citizens while continuing to perceive them as indelible outsiders. By charting the emergence of the model minority stereotype,The Color of Successreveals that this far-reaching, politically charged process continues to have profound implications for how Americans understand race, opportunity, and nationhood.

China is a vast nation comprised of hundreds of distinct ethnic communities, each with its own language, history, and culture. Today the government of China recognizes just 56 ethnic nationalities, or minzu, as groups entitled to representation. This controversial new book recounts the history of the most sweeping attempt to sort and categorize the nation's enormous population: the 1954 Ethnic Classification project (minzu shibie). Thomas S. Mullaney draws on recently declassified material and extensive oral histories to describe how the communist government, in power less than a decade, launched this process in ethnically diverse Yunnan. Mullaney shows how the government drew on Republican-era scholarship for conceptual and methodological inspiration as it developed a strategy for identifying minzu and how non-Party-member Chinese ethnologists produced a \"scientific\" survey that would become the basis for a policy on nationalities.

Fresh research on the experiences of music and musicians in exile from Nazi Europe, exploring refugee experiences in Europe, the USA, Australia and Shanghai, the role of institutions, and the reception of individual creative work during and after the Second World War.

In this book, David Der-wei Wang uses the lyrical to rethink the dynamics of Chinese modernity. Although the form may seem unusual for representing China's social and political crises in the mid-twentieth century, Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. Wang calls attention to the form's vigor and variety at an unlikely juncture in Chinese history and the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with poetry, fiction, film, intellectual treatise, political manifesto, painting, calligraphy, and music. Western critics, Wang shows, also used lyricism to critique their perilous, epic time. He reads Martin Heidegger, Theodor Adorno, Cleanth Brooks, and Paul de Man, among others, to complete his portrait. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese—and global—modernity. Wang's remarkable survey reestablishes Chinese lyricism's deep roots in its own native traditions, along with Western influences, and realizes the relevance of such a lyrical calling of the past century to our time.

The First Edition of this contemporary classic can claim to have put ′consumer culture′ on the map, certainly in relation to postmodernism. Updated throughout, this expanded new edition includes a fully revised preface that explores the developments in consumer culture since the First Edition. Among the most noteworthy areas discussed are the effect of global warming on consumption, the rise of the new rich, changes in the North/South divide and the new diversity of consumer culture. The result is a book that shakes the boundaries of debate, from one of the foremost writers on culture and postmodernism of the present day.

Despite the precipitous rise of East Asia as a center of architectural production since the Second World War, informed studies remain lacking. The lacuna is particularly conspicuous in terms of regional, cross-national studies, documenting the close ties and parallels between China, Taiwan, Japan and Korea during this period. Examining colonized cities in East Asia, this book brings together a range of different perspectives across both space and time. European, Chinese, Taiwanese, Korean and Japanese discourses are examined, with a range of complementary and conflicting views on the design of urban and architectural forms; the political, institutional, religious and economical contexts of urban planning; the role played by various media; and the influence of various geographical, social and anthropological research methods. The diversity and plurality of these perspectives in this book provides an entwined architectural, urban and social history of East Asia, which offers insights into the cultural systems and the historical and spatial meanings of these colonized cities. It concludes that the difficulties in the historical study of East Asia's colonial cities do not so much indicate cultural difference as the potentiality for multiple readings of the past toward the future.

Before the modernist transformations of the twentieth century, China had one of the richest and most diverse religious cultures in the world. The radical anti-traditionalist policies of both the Republican and Communist regimes as well as other socio-historical factors posed formidable challenges to China’s religious traditions but, this book argues, these conditions also presented new opportunities for re-generation and innovation. It shows that economic reforms and the concurrent relaxation of religious policies have provided fertile ground for the revitalization of a wide array of religious practices, including divination, ancestor worship, temple festivals, spirit mediumism, churchgoing, funeral rites, exorcism, pilgrimages, sectarianism, sutra chanting, and the printing and distribution of morality books. Equally new forms of religious practices have emerged such as lay Buddhist preachers, \"Maoist shamans\", and a range of qigong sects/schools. Written by an international, interdisciplinary team of experts who have all conducted in-depth fieldwork research in China, this book provides a wide-ranging survey of contemporary religious practices in China. It examines the different processes and mechanisms of religious revivals and innovations, and, more broadly, relates the Chinese example of religious revitalization to larger issues of social and cultural continuity and change. Acknowledgments List of figures, maps, and tables List of Contributors 1. Introduction: Revitalizing and Innovating Religious Traditions in Contemporary China - Adam Yuet Chau 2. Buddhism in the Reform Era: A Secularized Revival? - Ji Zhe 3. Morality Books and the Re-Growth of Lay Buddhism in China - Gareth Fisher 4. From Ritual Skills to Discursive Knowledge: Changing Styles of Daoist Transmission in Shanghai - Yang Der-ruey 5. Networks and the \"Cloudlike Wandering\" of Daoist Monks in China Today - Adeline Herrou 6. Temples as Enterprises - Selina Chan and Graeme Lang 7. Revival in Crisis: Amateur Ritual Associations in Hebei - Stephen Jones 8. Chinese Religious Innovation in the Qigong Movement: The Case of Zhonggong - David Palmer 9. Global Modernity, Local Community, and Spiritual Power in the Shanxi Catholic Church - Henrietta Harrison Index Adam Yuet Chau is University Lecturer in the Anthropology of Modern China in the Department of East Asian Studies at the University of Cambridge, UK. He is the author of Miraculous Response: Doing Popular Religion in Contemporary China.