As a Chinese language professor at the Defense Language Institute Foreign Language Center (DLI), Judy Zhu believes that raising cultural awareness is a necessity and should be an ongoing effort regardless of how much one already knows about a foreign language. Modern Chinese Cultural Encounters aims to provide Westerners, especially Americans studying or traveling in China, with a unique Chinese perspective and reference.
"A classic must-read for everyone coming to work or live in China." - Shelley Warner and Tony Voutas, cross-cultural trainers and founders of Asia Pacific Access Ltd, China China is in the midst of unprecedented economic and cultural growth. In the last decade alone, China joined the World Trade Organization, hosted the 2008 Olympics and experienced a remarkable, record-high increase in its foreign currency reserves. As these changes unfold, frequency of contact between the Chinese and Westerners is dramatically increasing in the office, the classroom and the home. With thought-provoking glimpses into history and tradition, Encountering the Chinese provides fundamental information on Chinese cultural norms and values, giving clear context for contemporary social standards. Readers will learn the etiquette necessary to build successful personal and professional relationships with the Chinese both inside and outside the People's Republic of China. This revised edition of Encountering the Chinese also explains how Chinese values are changing rapidly-and why it is more important than ever to keep up. For instance, compliments, once declined out of modesty, are now widely accepted in coastal cities; and some terms of address that were proper to use only a decade ago have grown offensive. Encountering the Chinese provides invaluable insight into the diverse and changing Chinese culture.
Open-access edition: DOI 10.6069/9780295804088 China's exploitation by Western imperialism is well known, but the imperialist treatment within China of ethnic minorities has been little explored. Around the geographic periphery of China, as well as some of the less accessible parts of the interior, and even in its cities, live a variety of peoples of different origins, languages, ecological adaptations, and cultures. These people have interacted for centuries with the Han Chinese majority, with other minority ethnic groups (minzu), and with non-Chinese, but identification of distinct groups and analysis of their history and relationship to others still are problematic. Cultural Encounters on China's Ethnic Frontiers provides rich material for the comparative study of colonialism and imperialism and for the study of Chinese nation-building. It represents some of the first scholarship on ethnic minorities in China based on direct research since before World War II. This, combined with increasing awareness in the West of the importance of ethnic relations, makes it an especially timely book. It will be of interest to anthopologists, historians, and political scientists, as well as to sinologists.
A study of traditional and modernist attitudes toward architecture in China from the 1840s to the present. Built around snatches of discussion overheard in a Beijing design studio, this book explores attitudes toward architecture in China since the opening of the Treaty Ports in the 1840s. Central to the discussion are the concepts of ti and yong, or "essence" and "form," Chinese characters that are used to define the proper arrangement of what should be considered modern and essentially Chinese. Ti and yong have gone through various transformations--for example, from "Chinese learning for essential principles and Western learning for practical application" to "socialist essence and cultural form" and an almost complete reversal to "modern essence and Chinese form." The book opens with a discussion of cultural developments in China in response to the forced opening to the West in the mid-nineteenth century, efforts to reform the Qing dynasty, and the Nationalist and Communist regimes. It then considers the return of overseas-educated Chinese architects and foreign influences on Chinese architecture, four architectural orientations toward tradition and modernity in the 1920s and 1930s, and the controversy over the use of "big roofs" and other sinicizing aspects of Chinese architecture in the 1950s. The book then moves to the hard economic conditions of the Great Leap Forward and the Cultural Revolution, when architecture was almost abandoned, and the beginning of reform and opening up to the outside world in the late 1970s and 1980s. Finally, it looks at the present socialist market economy and Chinese architecture during the still incomplete process of modernization. It closes with a prognosis for the future.
Chinese Art and Its Encounter with the Worldexamines Chinese art from the mid-eighteenth century to the present, beginning with discussion of a Chinese portrait modeler from Canton who traveled to London in 1769, and ending with an analysis of art and visual culture in post-colonial Hong Kong. By means of a series of six closely-focused case studies, often deliberately introducing non-canonical or previously marginalized aspects of Chinese visual culture, it analyzes Chinese art's encounter with the broader world, and in particular with the West. Offering more than a simple charting of influences, it uncovers a pattern of richly mutual interchange between Chinese art and its others. Arguing that we cannot fully understand modern Chinese art without taking this expanded global context into account, it attempts to break down barriers between areas of art history which have hitherto largely been treated within separate and often nationally-conceived frames. Aware that issues of cultural difference need to be addressed by art historians as much as by artists, it represents a pioneering attempt to produce art historical writing which is truly global in approach. David Clarkeis Professor in the Department of Fine Arts, University of Hong Kong.
The meeting point between China and the West is a striking subject in a wide range of disciplines. This collection scrutinises how China and the West interact in aspects of culture, arts, politics and everyday life. Within a complex web of actors, dimensions, technologies, spaces and social structures, cultural encounters are nevertheless problematic. China and the West come together within the stream of a global world. The essays in this anthology analyse new and emerging dynamics that challenge authoritative views imposed on the other, while deconstructing traditional responses to otherness too. Bringing these essays together responds to a commitment to a critical assessment of the various shapes that such convergence takes within globalisation. China and the West: Encounters with the Other in Culture, Arts, Politics and Everyday Life will appeal to scholars and practitioners in communications, the visual arts, cultural studies, sociology, media studies, anthropology, literature and politics. The non-academic reader interested in the vibrant and emerging interface between China and the West will find this enlightening too.
In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America. In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship. This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates -- on- and offscreen -- over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.
The English Renaissance and the Far East: Cross-Cultural Encounters is an original and timely examination of cultural encounters between Britain, China, and Japan. It challenges accepted, Anglocentric models of East-West relations and offers a radical reconceptualization of the English Renaissance, suggesting it was not so different from current developments in an increasingly Sinocentric world, and that as China, in particular, returns to a global center-stage that it last occupied pre-1800, a curious and overlooked synergy exists between the early modern and the present. Prompted by the current eastward tilt in global power, in particular towards China, Adele Lee examines cultural interactions between Britain and the Far East in both the early modern and postmodern periods. She explores how key encounters with and representations of the Far East are described in early modern writing, and demonstrates how work of that period, particularly Shakespeare, has a special power today to facilitate encounters between Britain and East Asia. Readers will find the past illuminating the present and vice versa in a book that has at its heart resonances between Renaissance and present-day cultural exchanges, and which takes a cyclical, “long-view” of history to offer a new, innovative approach to a subject of contemporary importance.
With the economic and political rise of East Asia in the second half of the twentieth century, many Western countries have re-evaluated their links to their Eastern counterparts. Thus, in recent years, Asian German Studies has emerged as a promising branch within interdisciplinary German Studies. This collection of essays examines German-language cultural production pertaining to modern China and Japan, and explicitly challenges orientalist notions by proposing a conception of East and West not as opposites, but as complementary elements of global culture, thereby urging a move beyond national paradigms in cultural studies. Essays focus on the mid-century German-Japanese alliance, Chinese-German Leftist collaborations, global capitalism, travel, identity, and cultural hybridity. The authors include historians and scholars of film and literature, and employ a wide array of approaches from postcolonial, globalization, media, and gender studies. The collection sheds new light on a complex and ambivalentset of international relationships, while also testifying to the potential of Asian German Studies.
In contrast to the economic and cultural dominance by the south and the east coast over the past several centuries, influence in China in the early Middle Ages was centered in the north and featured a significantly multicultural society. Many events that were profoundly formative for the future of East Asian civilization occurred during this period, although much of this multiculturalism has long been obscured due to the Confucian monopoly of written records. Multicultural China in the Early Middle Ages endeavors to expose a number of long-hidden non-Sinitic characteristics and manifestations of heritage, some lasting to this very day. Sanping Chen investigates several foundational aspects of Chinese culture during this period, including the legendary unicorn and the fabled heroine Mulan, to determine the origin and development of the lore. His meticulous research yields surprising results. For instance, he finds that the character Mulan is not of Chinese origin and that Central Asian influences are to be found in language, religion, governance, and other fundamental characteristics of Chinese culture. As Victor Mair writes in the Foreword, "While not everyone will acquiesce in the entirety of Dr. Chen's findings, no reputable scholar can afford to ignore them with impunity." These "foreign"-origin elements were largely the legacy of the Tuoba, whose descendants in fact dominated China's political and cultural stage for nearly a millennium. Long before the Mongols, the Tuoba set a precedent for "using the civilized to rule the civilized" by attracting a large number of sedentary Central Asians to East Asia. This not only added a strong pre-Islamic Iranian layer to the contemporary Sinitic culture but also commenced China's golden age under the cosmopolitan Tang dynasty, whose nominally "Chinese" ruling house is revealed by Chen to be the biological and cultural heir of the Tuoba.
