Beyond the May Fourth Paradigm explores various dimensions of modern Chinese culture, ranging from literature, thought, and music to scientific research, business, and everyday life. By heeding how the May Fourth and non-May Fourth groups depended on each other and joined forces in creating Chinese modernity, this anthology points to the significant directions that Chinese historical actors chose as they competed but also collaborated in modernizing themselves, their culture, and the nation.
Read an interview with Carlos Yu-Kai Lin. Remembering May Fourth: The Movement and its Centennial Legacy is a collective work of thirteen scholars who reflect on the question of how to remember the May Fourth Movement, one of the most iconic socio-political events in the history of modern China. The book discusses a wide range of issues concerning the relations between politics and memory, between writing and ritualizing, between fiction and reality, and between theory and practice. Remembering May Fourth thus calls into question the ways in which the movement is remembered, while at the same time calling for the need to create new memories of the movement.
When did China make the decisive turn from tradition to modernity? For decades, the received wisdom would have pointed to the May Fourth movement, with its titanic battles between the champions of iconoclasm and the traditionalists, and its shift to more populist forms of politics. A growing body of recent research has, however, called into question how decisive the turn was, when it happened, and what relation the resulting modernity bore to the agendas of people who might have considered themselves representatives of such an iconoclastic movement. Having thus explicitly or implicitly 'decentered' the May Fourth, such research (augmented by contributions in the present volume) leaves us with the task of accounting for the shape Chinese modernity took, as the product of dialogues and debates between, and the interplay of, a variety of actors and trends, both within and (certainly no less importantly) without the May Fourth camp.
China is emerging as a new superpower in science and technology, reflected in the success of its spacecraft and high-velocity Maglev trains. While many seek to understand the rise of China as a technologically-based power, the Cultural Revolution of the 1960s may seem an unlikely era to explore for these insights. Despite the widespread verdict of the Great Proletarian Cultural Revolution as an unmitigated disaster for China, a number of recent scholars have called for re-examining Maoist science--both in China and in the West. At one time Western observers found much to admire in Chairman Mao's mass science, his egalitarian effort to take science out of the ivory tower and place it in the hands of the disenfranchised peasant, the loyal worker, and the patriot soldier. Chunjuan Nancy Wei and Darryl E. Brock have assembled a rich mix of talents and topics related to the fortunes and misfortunes of science, technology, and medicine in modern China, while tracing its roots to China's other great student revolution--the May Fourth Movement. Historians of science, political scientists, mathematicians, and others analyze how Maoist science served modern China in nationalism, socialism, and nation-building--and also where it failed the nation and the Chinese people. If the Cultural Revolution contributed to China's emerging space program and catalyzed modern malaria treatments based on Traditional Chinese Medicine, it also provided the origins of a science talent gap and the milieu from which a one-child policy would arise. Given the fundamental importance of China today, and of East Asia generally, it is imperative to have a better understanding of its most recent scientific history, but especially that history in a period of crisis and how that crisis was resolved. What is at issue here is not only the specific domain of the history of science, but the social and scientific policies of China generally as they developed and were applied prior to, during, and after the Cultural Revolution.
In Shanghai Filmmaking, Huang Xuelei invites readers to go on an intimate, detailed, behind-the-scenes tour of the world of early Chinese cinema. She paints a nuanced picture of the Mingxing Motion Picture Company, the leading Chinese film studio in the 1920s and 1930s, and argues that Shanghai filmmaking involved a series of border-crossing practices. Shanghai filmmaking developed in a matrix of global cultural production and distribution, and interacted closely with print culture and theatre. People from allegedly antagonistic political groupings worked closely with each other to bring a new form of visual culture and a new body of knowledge to an audience in and outside China. By exploring various border crossings, this book sheds new light on the power of popular cultural production during China’s modern transformation.
Through an investigation of 20th-century Chinese student protest, Lanza considers the marriage of the cultural and the political, the intellectual and the quotidian, that occurred during the May Fourth movement, along with its rearticulation in subsequent protest.
The Horizon of Modernity provides an extensive account of New Confucian philosophy that cuts through the boundaries between history and thought. This study explores Mou Zongsan's and Tang Junyi's critical confrontation with Marxism and Communism in relation to their engagement with Western thinkers such as Kant and Hegel. The author analyzes central conceptual aporias in the works of Mou, Tang, as well as Xiong Shili in the context of the revival of Confucianism in contemporary China and the emergence of the discipline of philosophy in twentieth-century Chinese intellectual history. This book casts new light on the nexus between the categories of subjectivity and social structure and the relation between philosophy, modern temporality, and the structural conditions of the modern world.
During the Mao era, China’s museums served an explicit and uniform propaganda function, underlining official Party history, eulogizing revolutionary heroes, and contributing to nation building and socialist construction. With the implementation of the post-Mao modernization program in the late 1970s and 1980s and the advent of globalization and market reforms in the 1990s, China underwent a radical social and economic transformation that has led to a vastly more heterogeneous culture and polity. Yet China is dominated by a single Leninist party that continues to rely heavily on its revolutionary heritage to generate political legitimacy. With its messages of collectivism, self-sacrifice, and class struggle, that heritage is increasingly at odds with Chinese society and with the state’s own neoliberal ideology of rapid-paced development, glorification of the market, and entrepreneurship. In this ambiguous political environment, museums and their curators must negotiate between revolutionary ideology and new kinds of historical narratives that reflect and highlight a neoliberal present. In Exhibiting the Past, Kirk Denton analyzes types of museums and exhibitionary spaces, from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories. Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.
This book presents an essential contribution to approaches in the studies of film, literature, performance, translation, and other art forms within the Chinese cultural tradition, examining East-West cultural exchange and providing related intertextual dialogue. The assessment of cultural exchange in the East-West context involves the original source, the adapted text, and other enigmatic extras incurred during the process. It aims to evaluate the linkage among, but not limited to, literature, film, music, art, and performance. The sections unpack how canonical texts can be read anew in modern society; how ideas can be circulated around the world based on translation, adaptation, and reinvention; and how the global networks of circulation can facilitate cultural interaction and intervention. The authors engage discussions on longstanding debates and controversies relating to Chinese literature as world literature; reconciliations of cultural identity under the contemporary waves of globalization and glocalization; Chinese-Western film adaptations and their impact upon cinematic experiences; an understanding of gendered roles and voices under the social gaze; and the translation of texts from intertextual angles. An enriching intellectual, intertextual resource for researchers and students enthusiastic about the adaptation and transformation process of different genres, this book is a must-have for Sinophiles. It will appeal to world historians interested in the global networks of connectivity, scholars researching cultural life in East Asia, and China specialists interested in cultural studies, translation, and film, media and literary studies.
The May Fourth movement (1915-1923) is widely considered a watershed in the history of modern China. This book is a social history of cultural and political radicals based in China's most important hinterland city at this pivotal time, Wuhan. Current narratives of May Fourth focus on the ideological development of intellectuals in the seaboard metropoles of Beijing and Shanghai. And although scholars have pointed to the importance of the many cultural-political societies of the period, they have largely neglected to examine these associations, seeing them only as seedbeds of Chinese communism and its leaders, like Mao Zedong. This book, by contrast, portrays the everyday life of May Fourth activists in Wuhan in cultural-political societies founded by local teacher and journalist Yun Daiying (1895-1931). The book examines the ways by which radical politics developed in hinterland urban centers, from there into a nation wide movement, which ultimately provided the basis for the emergence of mass political parties, namely the Nationalist Party (Guomindang) and the Chinese Communist Party (CCP). The book's focus on organizations, everyday life, and social networks provides a novel interpretation of where mechanisms of historical change are located. The book also highlights the importance of print culture in the provinces. It demonstrates how provincial print-culture combined with small, local organizations to create a political movement. The vantage point of Wuhan demonstrates that May Fourth radicalism developed in a dialogue between the coastal metropoles of Beijing and Shanghai and hinterland urban centers. The book therefore charts the way in which seeds of political change grew from individuals, through local organizations into a nation-wide movement, and finally into mass-party politics and subsequently revolution. The book thus connects everyday experiences of activists with the cultural-political ferment which gave rise to both the Chinese Communist party and the Nationalist Party.
