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The Monster That Is History
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations.
The Monster That Is History
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Over the centuries Taowu underwent many incarnations until it became identifiable with history itself. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations. Taking into account the campaigns of violence and brutality that have rocked generations of Chinese—often in the name of enlightenment, rationality, and utopian plenitude—this book places its arguments along two related axes: history and representation, modernity and monstrosity. Wang considers modern Chinese history as a complex of geopolitical, ethnic, gendered, and personal articulations of bygone and ongoing events. His discussion ranges from the politics of decapitation to the poetics of suicide, and from the typology of hunger and starvation to the technology of crime and punishment.
Chinese Discourses on the Peasant, 1900-1949
Xiaorong Han explores how Chinese intellectuals envisioned the peasantry and its role in changing society during the first half of the twentieth century. Politically motivated intellectuals, both Communist and non-Communist, believed that rural peasants and their villages would be at the heart of change during this long period of national crisis. Nevertheless, intellectuals saw themselves as the true shapers of change who would transform and use the peasantry. Han uses intellectuals' writings to provide a comprehensive look at their views of the peasantry. He shows how intellectuals with varying politics created images of the peasant—a supposed contemporary image and an ideal image of the peasant transformed for political ends, how intellectuals theorized on the nature of Chinese rural life, and how intellectuals conceived their own relationships with peasants.
The Cinematic Representation of the Chinese American Family
There has been an increasing recognition of the fluidity and ambiguity of ethnic identities within the context of global mobility. With that in mind, how have films constructed the identity of ethnic Chinese in the United States? This book addresses this issue through three sub-questions. First, why is the family narrative so characteristic of films about Chinese Americans in transnational Chinese cinema? In other words, how and why are images of Chinese or Chinese Americans in transnational Chinese cinema different from those in Hollywood movies? Second, how does transnational Chinese cinema define and negotiate the aesthetic conventions of melodrama commonly used to depict Chinese American...
Dynastic Crisis and Cultural Innovation
"This volume addresses cultural and literary transformation in the late Ming (1550–1644) and late Qing (1851–1911) eras. Although conventionally associated with a devastating sociopolitical crisis, each of these periods was also a time when Chinese culture was rejuvenated. Focusing on the twin themes of crisis and innovation, the seventeen chapters in this book aim to illuminate the late Ming and late Qing as eras of literary-cultural innovation during periods of imperial disintegration; to analyze linkages between the two periods and the radical heritage they bequeathed to the modern imagination; and to rethink the “premodernity” of the late Ming and late Qing in the context of the ...
Historical Dictionary of Chinese Cinema
Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
Chinese Biographical Index
Provides a summary of information contained in the microfiche collection entitled: Chinese biographical archive.
Chinese Biographical Index
Provides a summary of information contained in the microfiche collection entitled: Chinese biographical archive.
