A wide-ranging and accessibly written guide to the key aspects of elite and popular culture in contemporary China.

In this innovative textbook, leading world historian Peter Stearns analyses key examples of culture change from around the world, highlighting what culture change involves and how it can be explained and assessed, both historically and in the contemporary world. Culture change is one of the most interesting and significant features of human society, but until now there has been no book for the classroom which looks explicitly at this phenomenon. Cultural Change in Modern World History covers different kinds and levels of culture change since 1500 – from colonial culture contact in British India to modernization in Meiji Japan and changing attitudes towards gay marriage in the past decade – considering how we should define culture change, how to deal with causation and how to evaluate continuities and consequences. Stearns addresses fundamental questions: why do groups of people change their beliefs and values, and what happens when they do? Conversely, why do some groups resist culture change, and how do some manage to combine novel and more traditional cultural components? Figuring out how better to understand why groups or societies change their minds – or refuse to do so – provides a crucial perspective on human behaviors and values. As the first book to explore this important question, Cultural Change in Modern World History is a ground-breaking text for students of world history, cultural history and anthropology.

The editors are grateful to the Chiang Ching-kuo Foundation for its generous support of their research work which enabled them to publish the present book. The present book carefully maps the Chinese modernisation discourse, highlighting its relationship to other, similar discourses, and situating it within historical and theoretical contexts. In contrast to the majority of recent discussions of a “Chinese development model” that tend to focus more on institutional then cultural factors, and are more narrowly concerned with economic matters than overall social development, the book offers several important focal points for many presently overlooked issues and dilemmas. The multifaceted perspectives contained in this anthology are not limited to economic, social, and ecological issues, but also include political and social functions of ideologies and cultural conditioned values, representing the axial epistemological grounds of modern Chinese society. 2011 was the 100th anniversary of the Xinhai Revolution. The centennial is relevant not only in terms of state ideology, but also plays a significant role within academic research into Chinese society and culture. This historic turning point likewise represents the symbolic and concrete linkages and tensions between tradition and modernity, progress and conservatism, traditional values and the demands for adjustment to contemporary societies. The book shows that Chinese transition from tradition to modernity cannot be understood in a framework of a unified general model of society, but rather through a more complex insight into the interrelations among elements of physical environment, social structure, philosophy, history, and culture.

Celebrity is a pervasive aspect of everyday life and a growing field of academic inquiry. This is the first book-length exploration of celebrity culture in the People's Republic of China and its interaction with international norms of celebrity production. The book comprises case studies from popular culture (film, music, dance, literature, internet); official culture (military, political, and moral exemplars) and business celebrities. This breadth illuminates the ways capitalism and communism converge in the elevation of particular individuals to fame in contemporary China. The book will interest scholars and students in media, popular culture and China studies. Journalists may find the book useful for their analysis of famous figures in China and people working in creative industries area may appreciate these insights into 'image management' in China.--Louise Edwards is professor of modern China studies at the University of Hong Kong. -Elaine Jeffreys is a senior lecturer in China studies at the University of Technology, Sydney.--

This book examines the development of Chinese children’s literature from the late Qing to early Republican era. It highlights the transnational flows of knowledge, texts, and cultures during a time when children’s literature in China and the West was developing rapidly. Drawing from a rich archive of periodicals, novels, tracts, primers, and textbooks, the author analyzes how Chinese children’s literature published by Protestant missionaries and Chinese educators in the late nineteenth and early twentieth centuries presented varying notions of childhood. In this period of dramatic transition from the dynastic Qing empire to the new Republican China, young readers were offered different models of childhood, some of which challenged dominant Confucian ideas of what it meant to be a child. This volume sheds new light on a little-explored aspect of Chinese literary history. Through its contributions to the fields of children’s literature, book history, missionary history, and translation studies, it enhances our understanding of the negotiations between Chinese and Western cultures that shaped the publication and reception of Chinese texts for children.

This book examines the foreign and security policies adopted by China and Japan since the 1970s in their competition over the Senkaku/Diaoyu Islands in the East China Sea. It charts the development of a dispute that has become a potential flashpoint for conflict between the two countries. The book explains that while increasing nationalism in both China and Japan helps to fuel and sustain the dispute, a key factor is that the leaderships in both countries find competition over the islands to be a convenient vehicle supporting their wider approach to foreign and security policy, which is becoming increasingly assertive and potentially belligerent.

The goddess tradition remakes China and the world.

This book provides a timely analysis of the politics, philosophy, and history of Chinese power, focusing on social, strategic, and diplomatic trends that have shaped China for over three thousand years. Chinese elites have used the past to inform the present, but have also mobilized new ideas to address the country’s rapid transition to global power. China’s intellectual world can draw on a surprisingly pluralist legacy. When Chinese thinkers assess “power,” they bring to bear their classical legacy, the military classics, Chinese socialism, and Western political thought. There are also a number of intriguing formulations that give shape to the exercise of Chinese power. Among these are comprehensive national strength, stability preservation, soft power, asymmetric conflict, and counter-intervention strategies. This book looks at key periods in Chinese history when attitudes to power evolved and at their current expressions. These include China’s expanded use of think tanks to chart the future, efforts at creating an eco-civilization to balance growth, and an extended set of security and information capabilities. From observing the centrality of power in today’s international affairs, the book moves to the foundational concepts of Chinese governance: its belief in a strategic configuration of power—as understood in military contexts—as well as its growing diplomatic and maritime engagement abroad. This analysis culminates in new ideas of functional multipolarity. Power is also deployed internally: China’s use of nationalism as a major tool for state-building and cohesion, the ongoing role of socialism, and the People’s Liberation Army are all examined in this light. China’s current strategic culture has shaped President Xi Jinping’s search for a new model of power for China in the twenty-first century, an endeavor that will have serious implications for the future global order. This book provides an alternative perspective on China’s trajectory towards a revised international system.

As China and Chinese language learning moves centre stage economically and politically, questions of interculturality assume even greater significance. In this book interculturality draws attention to the processes involved in people engaging and exchanging with each other across languages, nationalities and ethnicities. The study, which adopts an ecological perspective, critically examines a range of issues and uses a variety of sources to conduct a multifaceted investigation. Data gathered from interviews with students of Mandarin sit alongside a critical discussion of a wide range of sources. Interculturality in Learning Mandarin Chinese in British Universities will be of interest to students and academics studying and researching Chinese language education, and academics working in the fields of language and intercultural communication, intercultural education and language education in general.

In recent decades the previously assumed dominance within the international art world of western(ized) conceptions of aesthetic modernity has been challenged by a critically becalming diversification of cultural outlooks widely referred to as 'contemporaneity'. Contributing to that diversification are assertions within mainland China of essential differences between Chinese and western art. In response to the critical impasse posed by contemporaneity, Paul Gladston charts a historical relay of mutually formative interactions between the artworlds of China and the West as part of a new transcultural theory of artistic criticality. Informed by deconstructivism as well as syncretic Confucianism, Gladston extends this theory to a reading of the work of the artist Zhang Peili and his involvement with the Hangzhou-based art group, the Pond Association (Chi she). Revealed is a critical aesthetic productively resistant to any single interpretative viewpoint, including those of Chinese exceptionalism and the supposed immanence of deconstructivist uncertainty. Addressing art in and from the People's Republic of China as a significant aspect of post-West contemporaneity, Gladston provides a new critical understanding of what it means to be 'contemporary' and the profound changes taking place in the art world today.