By asking challenging questions with respect and empathy, Liao Yiwu managed to get his subjects to talk openly and sometimes hilariously about their lives, desires, and vulnerabilities, creating a book that is an instance par excellence of what was once upon a time called “The New Journalism.” The Corpse Walker reveals a fascinating aspect of modern China, describing the lives of normal Chinese citizens in ways that constantly provoke and surprise.From the Trade Paperback edition.

    She chronicles the many accomplishments in America of Chinese immigrants and their descendents: building the infrastructure of their adopted country, fighting racist and exclusionary laws, walking the racial tightrope between black and white, contributing to major scientific and technological advances, expanding the literary canon, and influencing the way we think about racial and ethnic groups. Interweaving political, social, economic, and cultural history, as well as the stories of individuals, Chang offers a bracing view not only of what it means to be Chinese American, but also of what it is to be American.

    In 1979, the young dancer arrived in Texas as part of a cultural exchange, only to fall in love with America-and with an American woman. Two years later, through a series of events worthy of the most exciting cloak-and-dagger fiction, he defected to the United States, where he quickly became known as one of the greatest ballet dancers in the world. This is his story, told in his own inimitable voice.THE BASIS FOR A MAJOR MOTION PICTURE

    These exiles men and women were subjected to horrific conditions, and by 1961 the camp was closed because of the stench of death: of the rougly three thousand inmates, only about five hundred survived.In 1997, Xianhui Yang traveled to Gansu and spent the next five years interviewing more than one hundred survivors of the camp. In Woman from Shanghai he presents thirteen of their stories, which have been crafted into fiction in order to evade Chinese censorship but which lose none of their fierce power. These are tales of ordinary people facing extraordinary tribulations, time and again securing their humanity against those who were intent on taking it away.Xianhui Yang gives us a remarkable synthesis of journalism and fiction—a timely, important and uncommonly moving book.

    For the first time ever in English, here is the complete text, with an introduction and extensive notes by renowned translator, Red Pine. Over one hundred poets are represented in this bilingual edition, including many of China’s celebrated poets: Li Pai, Wang Wei, Tu Fu, Wang Po, and Ou-yang Hsiu.Poems of the Masters was compiled during the Sung dynasty (960–1278), a time when poetry became the defining measure of human relationships and understanding.As Red Pine writes in his introduction: "Nothing was significant without a poem, no social or ritual occasion, no political or personal event was considered complete without a few well-chosen words that summarized the complexities of the Chinese vision of reality and linked that vision with the beat of their hearts . . . [Poetry’s] greatest flowering was in the T’ang and Sung, when suddenly it was everywhere: in the palace, in the street, in every household, every inn, every monastery, in every village square.""Chiupu River Song" by Li PaiMy white hair extends three milesthe sorrow of parting made it this longwho would guess to look in a mirrorwhere autumn frost comes fromRed Pine (the pen name of writer and independent scholar Bill Porter) is one of the world’s most respected translators of Chinese literature, bringing into English several of China’s central religious and literary texts: Taoteching, The Diamond Sutra, Zen Teachings of Bodhidharma, and Collected Songs of Cold Mountain. He lives near Seattle, Washington.

    Almost no visual documentation of the period exists and that which does is biased due to government control over media, arts and cultural institutions.Red-Color News Soldier is a controversial visual record of an infamous, misunderstood period of modern history that has been largely hidden from the public eye, both within China and abroad. Li Zhensheng (b.1940) - a photo journalist living in the northern Chinese province of Heilongjiang - managed, at great personal risk, to hide and preserve for decades over 20,000 stills. As a party-approved photographer for The Heilongjiang Daily , he had been granted unusual access to capture events during the Cultural Revolution. This account has remained unseen until now, except for some eight photographs that were released for publication in 1987.Red-Color News Soldier includes over 400 photographs and a running diary of Li's experience. The images are powerful representations of the turbulent period, including photographs of unruly Red Guard rallies and relentless public denunciations and Mao's rural re-education centres, as well as portraits prominent participants in the Cultural Revolution.Jonathan Spence, Yale Professor and pre-eminient historian of modern China, presents a rigorous introduction. In it, he states: 'Li was tracking human tragedies and personal foibles with a precision that was to create an enduring legacy not only for his contemporaries but for the generations of his countrymen then unborn. As Westerners confront the multiplicity of his images, they too can come to understand something of the agonizing paradoxes that lay at the centre of this protracted human disaster.'This book excels as a volume of both compelling photography and riveting historical record. It is truly unique - in terms of both its artefactual value and its deconstruction - and indispensable for anyone interested in modern Chinese history or the powerful cultural role of photojournalism.

    These infamous posters were, in turn, central fixtures in Chinese homes, railway stations, schools, journals, magazines, and just about anywhere else where people were likely to see them. Chairman Mao, portrayed as a stoic superhero (a.k.a. the Great Teacher, the Great Leader, the Great Helmsman, the Supreme Commander), appeared in all kinds of situations (inspecting factories, smoking a cigarette with peasant workers, standing by the Yangzi River in a bathrobe, presiding over the bow of a ship, or floating over a sea of red flags), flanked by strong, healthy, ageless men and "masculinized" women and children wearing baggy, sexless, drab clothing. The goal of each poster was to show the Chinese people what sort of behavior was considered morally correct and how great the future of Communist China would be if everyone followed the same path toward utopia by uniting together. Combining fact and fiction in a way typical of propaganda art, these posters exuded positive vibes and seemed to suggest that Mao was an omnipresent force that would accompany China to happiness and greatness. This book brings together a selection of colorful propaganda artworks and cultural artifacts from photographer Michael Wolf's vast collection of Chinese propaganda posters, many of which are now extremely rare.

    Weinberger begins with Ezra Pound's Cathay (1915), and includes translations by three other major U.S. poets -- William Carlos Williams, Kenneth Rexroth, Gary Snyder -- and an important poet-translator-scholar, David Hinton, all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets. The anthology also includes previously uncollected translations by Pound; a selection of essays on Chinese poetry by all five translators, some never published before in book form; Lu Chi's famous "Rhymeprose on Literature" translated by Achilles Fang; biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves; and also Weinberger's excellent introduction that historically contextualizes the influence Chinese poetry has had on the work of American poets.

    Here Brother Yun, Peter Xu Yongze, and Enoch Wang, three Chinese house church leaders who between them have spent more than 40 years in prison for their faith, explain the history and present-day reality of the Back to Jerusalem movement. Christians everywhere who are called to fulfill the Great Commission will be thrilled by this testimony and inspired to live bolder lives as disciples of Jesus Christ.

    Xuanzang should be known as one of the world's great heroes. His travels across Asia to bring true Buddhism back to China are legendary, and his own book provides a unique record of the history and culture of his time. Yet he is unknown to most of us and even to most Chinese, whose knowledge of Buddhist history has been eradicated by decades of Communist rule.Sun Shuyun was determined to follow in his footsteps, to discover more about Xuanzang and restore his fame. She decided to retrace his journey from China to India and back, an adventure that in the 8th century took Xuanzang eighteen years and led him across 118 kingdoms, an adventure that opened up the east and west of Asia to each other – and to us.A man of great faith and determination, Xuanzang won the hearts of kings and robbers with his teaching, his charm and his indomitable will. Against all odds he persuaded the Confucian emperors to allow Buddhism to flourish in China.At the heart of the book lies Sun Shuyun's own personal journey towards understanding the Buddhist faith of her grandmother, recognising the passionate idealism of the communist beliefs of her own family and discovering her own ideological and personal path through life.

    In Daughters of Emptiness, Beata Grant renders a great service by recovering and translating the enchanting verse - by turns assertive, observant, devout - of forty-eight nuns from sixteen centuries of imperial China. This selection of poems, along with the brief biographical accounts that accompany them, affords readers a glimpse into the extraordinary diversity and sometimes startling richness of these women's lives.A sample poem for this stunning collection:The sequence of seasons naturally pushes forward,Suddenly I am startled by the ending of the year.Lifting my eyes I catch sight of the winter crows,Calling mournfully as if wanting to complain.The sunlight is cold rather than gentle,Spreading over the four corners like a cloud.A cold wind blows fitfully in from the north,Its sad whistling filling courtyards and houses.Head raised, I gaze in the direction of Spring,But Spring pays no attention to me at all.Time a galloping colt glimpsed through a crack,The tap [of Death] at the door has its predestined time.How should I not know, one who has left the world,And for whom floating clouds are already familiar?In the garden there grows a rosary-plum tree:Whose sworn friendship makes it possible to endure.- Chan Master Jingnuo

    The pictures are complemented by essays from a group of highly-regarded writers.

    The action in this volume can be divided into three parts: the campaign against Tian Hu, the campaign against Wang Qing and the campaign against Fang La. It is in the last of these that the heroes of Mount Liang begin to die. Their demise is as haphazard and casual as the scattering of the flock of geese when the Prodigy shoots them for mere amusement. The themes of the vanity of human wishes and the emptiness of ambition are prominent throughout.

    In particular, he chose those from the great Tang period (618-906), which have remained alive and on people s lips ever since they were written. Most of the selection here date from that period; the rest were penned during the later dynasties the Song, Yuan, Ming and Qing. With b&w illustrations.

    Through essays, poetry, dialogues, and anecdotes, the Xunzi articulates a Confucian perspective on ethics, politics, warfare, language, psychology, human nature, ritual, and music, among other topics. Aimed at general readers and students of Chinese thought, Eric Hutton's translation makes the full text of this important work more accessible in English than ever before.Named for its purported author, the Xunzi (literally, "Master Xun") has long been neglected compared to works such as the Analects of Confucius and the Mencius. Yet interest in the Xunzi has grown in recent decades, and the text presents a much more systematic vision of the Confucian ideal than the fragmented sayings of Confucius and Mencius. In one famous, explicit contrast to them, the Xunzi argues that human nature is bad. However, it also allows that people can become good through rituals and institutions established by earlier sages. Indeed, the main purpose of the Xunzi is to urge people to become as good as possible, both for their own sakes and for the sake of peace and order in the world.In this edition, key terms are consistently translated to aid understanding and line numbers are provided for easy reference. Other features include a concise introduction, a timeline of early Chinese history, a list of important names and terms, cross-references, brief explanatory notes, a bibliography, and an index.

    The first of these is very much concerned with the question of the leadership on Mount Liang. Iron Ox is prominent in the second section, probably the most varied and entertaining part of this volume. The third section is concerned with the count's various attempts to subdue Mount Liang by force or win them over with an amnesty. The fourth section begins with the granting of the amnesty and the first campaign in the Emperor's service against the Liao Tartars. This part ends with an encounter which foreshadows the campaign against Tian Hu in Volume 5, The Scattered Flock.

    From the very first pages, the author draws you into his struggle with a culture worlds away from his comfort zone. The author's generous and compelling personality allowed him to gain access to the lives of his students and their families, who became characters in his tale. One can experience the author's wit and humanity throughout the narrative. The author's humorous view of China is especially timely and dovetails with the current explosion of interest in that country as it enters the modern world. The book is neither a travelogue nor a look at the government, although elements of those subjects are woven into the story. Instead, it is an engaging look at China, tailored toward those who know little about it. Still, those who have lived and/or traveled there will also enjoy the book as it reminds them of the absurdities they, too, experienced.

    Empire of Emptiness questions this generalization by taking a fresh look at the huge outpouring of Buddhist painting, sculpture, and decorative arts Qing court artists produced for distribution throughout the empire. It examines some of the Buddhist underpinnings of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multilingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice - Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists. Their pictorial, sculptural, and architectural projects escape easy analysis and raise questions about the difference between verbal and pictorial description, the ways in which overt and covert meaning could be embedded in images through juxtaposition and collage, and the collection and criticism of paintings and calligraphy that were intended as supports for practice and not initially as works of art.

    The city of Yangzhou, at the intersection of the Grand Canal and the Yangzi river, is best known as the site of human and physical devastation during the conquest and as a vibrant commercial center during the eighteenth century. The book focuses on the period between the conquest and the city’s commercial florescence—a moment in which Yangzhou was a center of literary culture that was consciously conceived as transregional and transdynastic. The book shows how Yangzhou’s elite used physical sites as markers in the reconstruction of the city, and as vehicles consolidating power and prestige. Gradually, however, the gestures and sites of the postconquest elite were appropriated by the city’s increasingly powerful salt merchants and incorporated into a court-oriented culture centered at Beijing.

    This is the first translation of classic Chinese poems intended for contemporary English-speaking readers. This new approach makes the sometimes difficult format of classic Chinese poetry accessible to newcomers to the genre. It offers 74 poems by authors such as Li Bai, Guan Daoshen, Zhang Jiuling, and Li Shangyin.

    At the same time, Buddhism had a profound effect on the material world of the Chinese. This wide-ranging study shows that Buddhism brought with it a vast array of objects big and small--relics treasured as parts of the body of the Buddha, prayer beads, and monastic clothing--as well as new ideas about what objects could do and how they should be treated. Kieschnick argues that even some everyday objects not ordinarily associated with Buddhism--bridges, tea, and the chair--on closer inspection turn out to have been intimately tied to Buddhist ideas and practices. Long after Buddhism ceased to be a major force in India, it continued to influence the development of material culture in China, as it does to the present day.At first glance, this seems surprising. Many Buddhist scriptures and thinkers rejected the material world or even denied its existence with great enthusiasm and sophistication. Others, however, from Buddhist philosophers to ordinary devotees, embraced objects as a means of expressing religious sentiments and doctrines. What was a sad sign of compromise and decline for some was seen as strength and versatility by others. Yielding rich insights through its innovative analysis of particular types of objects, this briskly written book is the first to systematically examine the ambivalent relationship, in the Chinese context, between Buddhism and material culture.

    The combination of photography and easy recipes will inject the flavours and ingredients of the Orient straight into your home.

    That's how the collection comes, in three parts. The poems in the first part, Lines out of China, were written in the United States. As for the second part, Lines in China, I wrote some during my trips there and rewrote in English, some I had written years earlier in Chinese. The third part, Cathay Revisited, resulted from my dialogue with classical Chinese poets in the translation of their works.

    He advocated universal love -- his most important doctrine according to which all humankind should be loved and treated as one's kinfolk -- honoring and making use of worthy men in government, and identifying with one's superior as a means of establishing uniform moral standards. He also believed in the will of Heaven and in ghosts. He firmly opposed offensive warfare, extravagance -- including indulgence in music and allied pleasures -- elaborate funerals and mourning, fatalistic beliefs, and Confucianism.

    Hayot examines these writers' infatuation with China, demonstrating that Pound, Brecht, and the writers of Tel Quel looked east and found a new vision for both themselves and the West.While Chinese Dreams focuses on specific writers' relationships with China, it also calls into question the means of representing otherness. Chinese Dreams asks if it might be possible to attend to the political meaning of imagining the other, while still enjoying the pleasures and possibilities of such dreaming.Eric Hayot is Assistant Professor of English, the University of Arizona.

    Relying on a wide selection of previously unpublished writings, Patricia Laurence places Ling, often referred to as the Chinese Katherine Mansfield, squarely in the Bloomsbury constellation. In doing so, she counters East-West polarities and suggests forms of understanding to inaugurate a new kind of cultural criticism and literary description.Laurence expands her examination of Bell and Ling's relationship into a study of parallel literary communities - Bloomsbury in England and the Crescent Moon group in China. Underscoring their reciprocal influences in the early part of the twentieth century, Laurence presents conversations among well-known British and Chinese writers, artists, and historians, including Virginia Woolf, Vanessa Bell, G. L. Dickinson, Xu Zhimo, E. M. Forster, and Xiao Qian. In addition, Laurence's study includes rarely seen photographs of Julian Bell, Ling, and their associates as well as a reproduction of Ling's scroll commemorating moments in the exchange between Bloomsbury and the Crescent Moon group.While many critics agree that modernism is a movement that crosses national boundaries, literary studies rarely reflect such a view. In this volume Laurence links unpublished letters and documents, cultural artifacts, art, literature, and people in ways that provide illumination from a comparative cultural and aesthetic perspective. In so doing she addresses the geographical and critical imbalances - and thus the architecture of modernist, postcolonial, Bloomsbury, and Asianstudies - by placing China in an aesthetic matrix of a developing international modernism.

    This book examines street culture in Chengdu, an under-studied inland city, during the transformative decades between 1870 and 1930, in order to explore various topics: the relationship between urban commoners and public space; the role that community and neighborhood played in public life; how the reform movement and the Republican revolution changed everyday life; and how popular culture and local politics interacted. Drawing on a rich array of Chinese and Western sources—including archives, local newspapers, gazetteers, personal records, folk literature, and field investigation—the author argues that life in public spaces was radically transformed in Chengdu during these eventful years.

    Using dozens of projects and exquisite full-color illustrations, Cherett explains the “six canons” of Chinese painting; the basic materials (the “four treasures”); various strokes; composition, including the meticulous and the freestyle; and other interesting effects. Try painting flowers; birds, such as red crowned cranes; fruits and vegetables, animals, figures, landscapes, and more.

    

    Known even during his lifetime as the "Banished Immortal, " he continues to spark imaginations and challenge passionately held convictions about poetic values. In this lucid and gracefully written volume, Paula Varsano presents the first full-length study of Li Bo in English in half a century and the first extended look at the poet's critical reception. Persuaded that the essence of his poetry lay well beyond the reach of the usual modes of study and description, readers from the ninth to the twentieth century developed a particularly dynamic critical language. Varsano shows how this language, evolving out of the critical concepts of "emptiness" and "substance, " answered the need to conceptualize shifting parameters of poetic creativity over hundreds of years. At the same time, she offers an account of Li Bo's entry into the canon and asks how this in turn transformed both the reception of his work and the transmission of his poetic persona. This story of Li Bo's critical reception and canonization is propelled by the malleable and elusive ideal of the "ancient." And so, Varsano devotes the second part of her study to the poems themselves, investigating those poetic manifestations of ancientness that translated into the enduring figure of the Banished Immortal.

    corporations helped replace the Goddess of Democracy that once stood in Tiananmen Square with the Gods of Mammon and Mars that dominate China today.

    He examines the spiritual aspects that are so important in Tibetan life and the modern international success of Lamanism. Chronicling the paths of early explorers, Peissel relates Tibet's plunder and destruction, from its dismembering in colonial times to the Chinese takeover. He looks at the uniqueness of the Himalayas, where flora and fauna have evolved to suit the high altitude and resulted in such extraordinary species of animals as the yak and the Takin, a huge goat. Through his writing and photography, Michael Peissel brings to life the geographical, spiritual, and intellectual heart of Tibet.

    It examines all major legal institutions in China, including the law-making organs, courts, procuratorates, police, and the legal profession. Also provides an overview of the major areas of procedural and substantive black letter law in China, with a focus on foreign investment and intellectual property laws.

    This lavishly illustrated cookbook is the first to introduce to the English-speaking world one of the oldest "fusion" cuisines in Asia. It includes 62 recipes, most of which are straight from the source-old family recipe collections or the files of influential Macanese chefs. "Taste of Macau can be used as a complete reference guide to Macanese cuisine, as it includes information on ingredients and where to buy them, stories and information about the few remaining authentic restaurants in Macau, and a fascinating discussion on the relationship between food and culture through literary excerpts and personal testimonies from important figures in the Macanese community.

    The U.S. and other Western countries recoiled in disgust after the horrific incident, and the relationship between the U.S. and China went from amity and strategic cooperation to hostility, distrust, and misunderstanding. Time has healed many of the wounds from those terrible days of June 1989, and bilateral strains have been eased in light of the countries' joint opposition to international terrorism. Yet China and U.S. remain locked in opposition, as strategic thinkers and military planners on both sides plot future conflict scenarios with the other side as principal enemy. Polls indicate that most Americans consider China an "unfriendly" country, and anti-American sentiment is growing in China. According to Robert Suettinger, the calamity in Tiananmen Square marked a critical turning point in U.S.-China affairs. In Beyond Tiananmen, Suettinger traces the turbulent bilateral relationship since that time, with a particular focus on the internal political factors that shaped it. Through a series of candid anecdotes and observations, Suettinger sheds light on the complex and confused decision-making process that affected relations between the U.S. and China between 1989 and the end of the Clinton presidency in 2000. By illuminating the way domestic political ideas, beliefs, and prejudices affect foreign policymaking, Suettinger reveals policy decisions as outcomes of complex processes, rather than the results of grand strategic trends. He also refutes the view that strategic confrontation between the superpowers is inevitable. Suettinger sees considerable opportunity for cooperation and improvement in what is likely to be the single most important bilateral relationship of the twenty-first century. He cautions, however, that routine misperceptions of goals and policies between the two countries—unfortunate legacies of Tiananmen—could lead to an increasing level of hostility, with tragic consequences.

    Neolithic figurines, rows upon rows of underground terra-cotta statues, exquisite bronzes, Buddhas carved in cave walls—all these are part of a vast sculptural heritage. This gorgeous book, written by a team of eminent international scholars, is the first to offer a comprehensive history of Chinese sculpture. Spanning some seven thousand years, Chinese Sculpture explores a beautiful and diverse world of objects, many of which have come to light in recent decades.  The authors analyze and present, mostly in color, more than five hundred examples of Chinese sculpture, dividing China’s rich and complex sculptural legacy into two parts—secular (tomb and mortuary art) and religious (Buddhist, Confucianist, and Daoist art). Throughout, the authors highlight the inventiveness, purposes, and brilliant execution of Chinese sculpture and comment on how the country’s culture nurtured the practical and intellectual choices that shaped its sculptural traditions over the millennia.

    Five unique sections cover overcoming obstacles, how your thinking determines your life, business success, personal health, and family. First edition published May, 2003, with 50,000 pre-sold copies and pending orders for 1.25 million additional. Volume II is scheduled for publication December, 2003.

    Michel Hockx takes as a point of departure the observation that most writers of the Republican period adhered to a distinctly traditional practice of gathering in literary societies, while at the same time displaying a marked preference for publishing their works through the modern medium of the literary journal. The first part of the book analyses different types of societies and their journals. The case studies in part two convey the wider impact of literary collectives and journal publications on literary practice. Convincingly breaking with the 'May Fourth' paradigm, the author proposes a radically new way of understanding the relationship between New Literature and other styles of modern Chinese writing.

    - Provides a brief history of Chinese embroidery and an explanation of the symbols and motifs used in this craft- Detailed line drawings and full-color photographs display the step-by-step process of making specialty stitches- Includes explanation of knot, seed, and flat stitches, and more

    This quiet, beautiful region has been occupied by the Chinese since 1949. Before the Chinese invaded, Tibet had been living peacefully under the rule of a succession of Dalai and Panchen Lamas. This illuminating account by cultural anthropologist Franoise Pommaret examines the turbulent and painful history of this country and its gentle people's continuing struggle for independence.

    It guides the students from beginner to low-intermediate level. The topics in this series of textbooks have been carefully selected to meet the high school students¡¯ interests and are arranged in accordance with the rules of learning a second language. The series is composed of four volumes each of which contains Student¡¯s Book, Teacher¡¯s Book, Workbooks, and phonetic and listening materials.

    

    The result of a decade's research, Modernizing China's Military comes at a crucial moment in history, one when international attention is increasingly focused on the rise of Chinese military power. Basing his analysis on an unprecedented use of Chinese military publications and interviews with People's Liberation Army (PLA) officers, Shambaugh addresses important questions about Chinese strategic intentions and military capabilities--questions that are of key concern for government policymakers as well as strategic analysts and a concerned public.

    Chinese Gardens explores the creation of classical gardens through history, discussing the theories and artistic conception behind these gardens and the development of diverse regional styles. Lou Qingxi provides a comprehensive introduction to the distinctive combination of nature, philosophy and art that is unique to Chinese gardens, complemented with full color illustrations throughout.

    Whether one is speaking of Jet Li martial arts blockbusters, historical epics like Chen Kaige's "Farewell My Concubine," or evocative art films like Edward Yang's "Yi Yi" and Wong Kar Wai's "In the Mood for Love," the astonishing variety, quality, and inventiveness of movies from the three filmmaking regions of Greater China have caught the imagination of film buffs and Hollywood studios alike, ensuring that more and more works from these dynamic industries will find an eager American audience. But this startling diversity springs from common roots. "Once Upon a Time in China" is the first time that the unique cinemas of Hong Kong, Taiwan, and the Mainland have been explored in parallel, showcasing the feuds and family ties, the epic confrontations and subtle machinations, through which contemporary Chinese film has evolved.With wit and a true passion for the subject, author Jeff Yang, former publisher of "aMagazine" -- the nation's premier Asian American periodical -- and coauthor of action icon Jackie Chan's autobiography, offers a colorful journey through the history of Chinese cinema, its standout stars, moguls, and icons, and more than 350 of its most distinctive works.

    Analyzing data from archaeology, geology, cultural geography, ethnohistory and ancient texts, the authors show how the procurement of key external resources - especially metal and salt - drove the dynamics of state formation in early China in the period of 1800-1400BC.

    With more than one hundred articles that show how a host of authors and literary movements have contributed to the general literary development of their respective countries, this companion is an essential starting point for the study of East Asian literatures. Comprehensive thematic essays introduce each geographical section with historical overviews and surveys of persistent themes in the literature examined, including nationalism, gender, family relations, and sexuality.Following the thematic essays are the individual entries: over forty for China, over fifty for Japan, and almost thirty for Korea, featuring everything from detailed analyses of the works of Tanizaki Jun'ichiro and Murakami Haruki, to far-ranging explorations of avant-garde fiction in China and postwar novels in Korea. Arrayed chronologically, each entry is self-contained, though extensive cross-referencing affords readers the opportunity to gain a more synoptic view of the work, author, or movement. The unrivaled opportunities for comparative analysis alone make this unique companion an indispensable reference for anyone interested in the burgeoning field of Asian literature.Although the literatures of China, Japan, and Korea are each allotted separate sections, the editors constantly kept an eye open to those writers, works, and movements that transcend national boundaries. This includes, for example, Chinese authors who lived and wrote in Japan; Japanese authors who wrote in classical Chinese; and Korean authors who write in Japanese, whether under the colonial occupation or because they are resident in Japan. The waves of modernization can be seen as reaching each of these countries in a staggered fashion, with eddies and back-flows between them then complicating the picture further. This volume provides a vivid sense of this dynamic interplay.

    The unfolding of this transformation, its causes, and wider ramifications are examined in this masterful analysis of the changing patterns of interaction between the two most important cultural spheres in Asia. Tansen Sen offers a new perspective on Sino-Indian relations during the Tang dynasty (618-907), arguing that the period is notable not only for religious and diplomatic exchanges but also for the process through which China emerged as a center of Buddhist learning, practice, and pilgrimage. He proposes that changes in religious interactions were paralleled by changes in commercial exchanges. For most of the first millennium, trading activities between India and China were closely connected with and sustained through the transmission of Buddhist doctrines. In the eleventh and twelfth centuries, however, secular bulk and luxury goods replaced Buddhist ritual items. Moreover, policies to encourage foreign trade instituted by the Chinese government and the Indian kingdoms transformed the China-India trading circuit in

    While physical remnants from the past are being bulldozed every day to make space for glass-walled skyscrapers and towering apartment buildings, nostalgia for the old city is booming. Madeleine Yue Dong offers the first comprehensive history of Republican Beijing, examining how the capital acquired its identity as a consummately "traditional" Chinese city.For residents of Beijing, the heart of the city lay in the labor-intensive activities of "recycling," a primary mode of material and cultural production and circulation that came to characterize Republican Beijing. An omnipresent process of recycling and re-use unified Beijing's fragmented and stratified markets into one circulation system. These material practices evoked an air of nostalgia that permeated daily life. Paradoxically, the "old Beijing" toward which this nostalgia was directed was not the imperial capital of the past, but the living Republican city. Such nostalgia toward the present, the author argues, was not an empty sentiment, but an essential characteristic of Chinese modernity.

    But what does the country look like to most Chinese, those from the vast hinterland? The Promise of the Revolution reflects the day-to-day realities of the hundreds of millions of people in China's interior regions, fifty years after Communist takeover. A half-century ago, Mao Zedong proclaimed that 'the Chinese people have stood up.' Yet most of China's millions lay in abject poverty. What has become of the promises of the revolution? Has anything changed? Wright's years of observation and conversation at the grassroots level in Guizhou, western China's poorest province from hiking high into mountain villages, to traveling with migrant laborers, to retracing the Long March trail, even to golfing with the province's most affluent reveal a rich blend of human fulfillment, disappointment, and perseverance. This unusually perceptive and personal account, with its vivid immediacy, educates and entertains, but most important, it makes an original and invaluable contribution to our understanding of China's hidden majority."

    The texts and cultural values of classical China spread throughout East Asia and became the foundation of learning in Korea, Japan and Vietnam. Greek learning and culture receive credit for many of the intellectual paradigms of the West. Probably the one which is most distinctly Western is the tradition of logical proof and the related assumption that, as Aristotle put it in 'Metaphysics' 980, 'we all desire to know.' In contrast, the Chinese tradition, as exemplified by Laozi's 'Dao de jing, ' cautions that through our desire to know we may forfeit wisdom, thus engendering a split between knowledge and wisdom.'The Siren and the Sage' is a comparative study of what some of the most influential writers of ancient China and ancient Greece thought it meant to know and whether they distinguished knowledge from wisdom. It surveys selected works of poetry, history and philosophy from roughly the eighth through the second centuries BCE, focusing on the 'Odyssey, ' the ancient Chinese 'Classic of Poetry, ' Thucydides' 'History of the Peloponnesian War, ' Sima Qian's 'Records of the Historian, ' Plato's 'Symposium, ' Laozi's 'Dao de jing' and the writings of Zhuangzi. The intention, through such juxtaposition, is to introduce foundational texts of each tradition, texts which continue to influence most of the world's peoples.It is intriguing to ask what awareness, if any, these distinctive cultures had of each other. A considerable body of scholarship comparing ancient Greece and ancient China now exists. Scholars are presenting evidence that the two cultures may actually have been aware of each other's presence, even though that awareness was presumably indirect, perhaps mediated by the nomadic peoples of Central Asia. While not directly contributing evidence, the authors argue that comparing the cultures of Greece and China will continue to be an irresistible and important scholarly debate. The book offers a provocative study which is accessible to students and general readers and at the same time contributes to the debate.

    Articles include: Belief in Control: Regulation of Religion in China, Local Communal Religion in Contemporary Southeast China, The Cult of the Silkworm Mother as a Core of Local Community Religion in a North China Village, Local Religion in Hong Kong and Macau, Religion and the State in Post-war Taiwan, Daoism in China Today, 1980-2002, Buddhist China at the Century's Turn, Islam in China: Accommodation or Separatism?, Catholic Revival during the Reform Era, Chinese Protestant Christianity Today, Healing Sects and Anti-Cult Campaigns.

    While Beijing and Taipei are ultimately responsible for their future relationship, the book argues that American leaders, inattentive to the history and the nuances of normalization, have generated unintended crises - and could do so again. Written by Stimson senior associate and East Asia program director Alan D. Romberg, this study has been hailed as "the definitive work on the evolution of the Taiwan question."

    In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China's literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another.Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text's meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.

    Maps and annotations are included, but not characters. I have added some references to works in the field published since 1991, but have not at this stage attempted a comprehensive bibliography. In a letter of 1994, Professor Fang Beichen of Chengdu University provided some comments; I am most grateful to him and have made a number of changes in accordance with his advice.Note to the original article 1991: This work has been prepared as a chapter for the second volume of The Cambridge History of China. I present it here in preliminary form because I believe there is room for a general survey of the third century, which saw the transition from a long-unified empire to a comparable period of disunity and conflict, and because I know that I shall benefit from the comments and criticisms of others. I emphasise that the piece is designed as a discussion of events: I refer occasionally to matters of literature and philosophy, but there are others expert in those fields, and I have sought only to provide a historical background for their analysis.