Browse

A Chinese Melting Pot: Original People and Immigrants in Hong Kong’s First ‘New Town’ traces the transformation of Tsuen Wan from a poor and marginal district of agricultural villages, culturally distinctive in that all were Hakka. Like others present in the New Territories in 1898, they enjoyed special privileges under British colonialism as ‘original inhabitants’. This study is focused, in part, on one of their villages: its history, lineages, relationships among and through women, and their songs and laments. In the aftermath of the Japanese occupation and revolution in China, the town, with its daily coastal market, rapidly grew into a major industrial area and assumed an intense, if chaotic, urban form. Its industries attracted enormous numbers of immigrants from China, who created a large variety of voluntary associations to ease their adaptation to the new environment, while the original inhabitants, as property owners, benefited financially from the immigrants’ need for housing, and politically from continuing government support. In the 1980s, changes in economic policies in China led to Tsuen Wan’s present post-industrial form. The original inhabitants remain as a small fragment of the population, their villages intact, although re-sited away from the town centre as part of greatly increased government intervention in creating a planned ‘new town’. Their language and traditions are disappearing as they, like the immigrants, are absorbed into the wider Hong Kong lifestyle.

Tales of Hope and Tastes of Bitterness sheds light on Chinese-led development from below, revealing its contested nature. Zooming in on everyday encounters between Chinese managers and Ethiopian laborers on a road construction site in Tigray, northern Ethiopia, the book shows that Ethiopians define Chinese-led development as much as they are defined by it. By mobilizing civic and legal authorities, Ethiopian workers have managed to increase their leverage to such a degree that they occasionally outplay Chinese management. On the other hand, Chinese narratives of bitterness reveal that Chinese road builders perceive themselves as lacking agency. Speaking, as they do, of thwarted goodwill, these narratives are not only linked to the everyday challenges of Chinese–Ethiopian encounters and the chasm between their confident expectations and the much less rosy realities on the ground, but also to workers’ socioeconomic backgrounds and their state of suspension, as they try to stay afloat in the competitive Chinese society to which they hope one day to return.

Observing that the division between theory and empiricism remains inextricably linked to imperial modernity, manifest at the most basic level in the binary between "the West" and "Asia," the authors of this volume reexamine art and aesthetics to challenge these oppositions in order to reconceptualize politics and knowledge production in East Asia. Current understandings of fundamental ideas like race, nation, colonizer and the colonized, and the concept of Asia in the region are seeped with imperial aesthetics that originated from competing imperialisms operating in the twentieth and twenty-first centuries. Such aesthetics has sustained both colonial and local modes of perception in the formation of nation-states and expanded the reach of regulatory powers in East Asia since 1945. The twelve thought-provoking essays in thiscollectiontackle the problematics that arise at the nexus of aesthetics and politics in four areas: theoretical issues of aesthetics and politics in East Asia, aesthetics of affect and sexuality, the productive tension between critical aesthetics and political movements, and aesthetic critiques of sovereignty and neoliberalism in East Asia today. If the seemingly universal operation of capital and militarism in East Asia requires locally specific definitions of biopolitical concepts to function smoothly, this book critiques the circuit of power between the universalism of capital and particularism of nation and culture. Treating aesthetic experiences in art at large as the bases for going beyond imperial categories, the contributors present new modes of sensing, thinking, and living that have been unimaginable within the mainstream modality of Asian studies, a discipline that has reproduced the colonial regime of knowledge production.

As part of the paradigm shift from the transatlantic to the transpacific in transnational American studies, this volume not only offers critical ways in which we rethink American exceptionalism, but it also engages the critical visions represented by New American studies, Asian studies, Asian American studies, and Pacific studies. By calling attention to the “oceanic archives” and indigenous epistemologies, the volume addresses colonialism and imperialism at their roots from both sides of the colonizer and the colonized and articulates what has been central to de-colonial thinking—indigenous epistemologies and ontologies, non-Western knowledge production and dissemination. As the transpacific continues to hold the global spotlight as moments of military, cultural, and geopolitical contentions as well as spaces of economic integration, negotiation, and resistance on national and global scales, we develop transpacificAmerican studies as the new cutting-edge in transnational American studies, global studies, and postcolonial studies.The essays collected in the volume recover the early oceanic archives to remap transpacific movements in different directions and at different moments, interrogate the colonial archives to reinvent indigenous ontologies and epistemologies,explore alternative oceanic archives to develop competing visions and forms of the transpacific. Above all, it speculates upon new directions in which transpacific American studies may pursue.

In Strait Rituals: China, Taiwan, and the United States and in the Taiwan Strait Crises, 1954-1958, this book argues that the Taiwan Strait Crises could be understood as an evolution towards tacit accommodation. Exploiting new materials from mainland China, Taiwan and the United States, a reevaluation of the international relations of all three parties via a simultaneous presentation of their disparate perspectives is made. At the heart of its argument, this book proposes that conflict resolution had become ritualized progressively as the protagonists implicitly constructed a framework of understanding. An uneasy peace was thus a product of a ritualization of discourses and maneuvers, embodied in verbal signaling and symbolic gestures. These exacting understandings laid the groundwork for a substantive change in the nature of Sino-American relations - from hostile nuclear confrontation in 1954 to tacit accommodation in 1958. In particular, this book highlights relevant aspects of “culture” to better understand the intricacies of the Sino-US-ROC relations. This aspect complements existing scholarship on realism, strategy, economics, ideology and domestic aspects of the Taiwan Strait crises. Strait Rituals will show the significance of “ritualization” in explaining the transition of “tacit communication” to “tacit accommodation.” It will demonstrate how both parties engaged in ritualized actions that facilitated the process of conflict resolution. Strait Rituals will establish how the US and China achieved a limited but shared understanding of the modus operandi of the other party through their ritualized actions in terms of their use of public symbols, identity issues, cultural images and official discourses on one hand, and military posturing, diplomatic canvassing for international support, and negotiations on the other hand.

Although the official propaganda surrounding the drug detainees in China is that of helping, educating, and saving them from their drug habits and the drug dealers who lure them into drug abuse, it is clear, according to Vincent Shing Cheng, that those who have gone through the rehabilitation system lost their trust in the Communist Party’s promise of help and consider it a failure. Based on first-hand information and established ideas in prison research, Hypocrisy gives an ethnographic account of reality and experiences of drug detainees in China and provides a glimpse into a population that is very hard to reach and study. Cheng argues that there is a discrepancy between the propaganda of ‘helping’ and ‘saving’ drug users in detention or rehabilitation centres and the reality of ‘humiliating’ them and making them prime targets of control. Such a discrepancy is possibly threatening rather than enhancing the party-state’s legitimacy. He concludes the book by demonstrating how the gulf between rhetoric and reality can illuminate many other systems, even in much less extreme societies than China.

Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.

Over the past 10 or 15 years in China, there has been unprecedented critical public discussion of key episodes in PRC history, in particular the Great Famine of 1959-1961, the Anti-Rightist movement of 1957, and the Cultural Revolution, with the wave of Red Guard apologies. These discussions are quite different from previous expressions of traumatic or nostalgic memories of the Mao era, respectively in the 1980s and 1990s. They reflect both growing dissatisfaction with the authoritarian control over history exercised by the Chinese state, and the new spaces provided for counter-hegemonic narratives by social media and the growing private economy in the 2000s. Unofficial or independent journals, self-published books, social media groups, independent documentary films, private museums, oral history projects, and archival research by amateur historians have all contributed to embryonic public or semi-public discussion. The present volume provides an overview of these new forms of popular memory, in particular critical memory, of the Mao era. Focusing on the processes of private production, public dissemination, and social sanctioning of narratives of the past in contemporary China, it examines the relation between popular memories and their social construction as historical knowledge. The three parts of the book are devoted to the shifting boundary between private and public in the press and media, the reconfiguration of elite and popular discourses in cultural productions (film, visual art, literature), and the emergence of new discourses of knowledge in popular history.

This book tells the story of how Chinese palace eunuchs, a complicated and much-maligned group of people, struggled to insert a degree of agency into their lives. During the Qing dynasty, the imperial court was determined to limit the influence of eunuchs by imposing a management style based upon strict rules, corporal punishment, and collective responsibility. Emasculation and employment placed eunuchs at the center of the empire, yet also subjected them to servile status and marginalization by society. Seeking more control over their lives, eunuchs repeatedly tested the boundaries of subservience to the emperor and the imperial court. This portrait of eunuch society reveals that Qing eunuchs operated within two parallel realms, one revolving around the emperor and the court by day and another among the eunuchs themselves by night where they recreated the social bonds (through drinking, gambling, and opium smoking) denied them by their palace service. Emasculation did not produce the ideal servants; rather, eunuchs proved to be a constant source of anxiety and labor challenges for the Qing imperial court. The history of Qing palace eunuchs is defined by a tension between the role eunuchs were meant to play and the life they intended to live.

Contemporary Chinese voices approach the topic of happiness from many diverse positions and perspectives. Happiness, often represented by the Chinese character fu 福‎, is part of the visual propaganda campaign of the Chinese Dream, and raising levels of happiness has become an official government target. Much is written and said about happiness by the Chinese government, but also by authors of self-help books, by journalists, TV chat show hosts, pop psychologists and China’s netizens. This book is the first attempt at analyzing these various writings and related images to see what concepts and agendas inform this proliferation of happiness discourse. Through comprehensive analysis of text and images in multimedia formats, the essays in this volume reflect the diversity and pervasiveness of Chinese happiness discourse enacted by different social groups and actors. The aim of this volume is to analyse out what different social actors, different philosophical, psychological, cultural, political ideas bring to the subject of happiness in contemporary China. The authors bring a number of theoretical perspectives and conceptual approaches to this endeavour, resulting in a multidisciplinary and multi-methodological volume. The different chapters illuminate how the recent discourse of happiness encompasses both motifs of individual self-interest and collective socialist ethics. The volume shows that happiness has emerged as a culturally and historically specific and relevant topic for China’s population that resonates across class divisions. As such, the book make a significant contribution from the perspective of the Humanities to the understanding of individual and collective happiness in China today.