Chinese Modern examines crucial episodes in the creation of Chinese modernity during the turbulent twentieth century. Analyzing a rich array of literary, visual, theatrical, and cinematic texts, Xiaobing Tang portrays the cultural transformation of China from the early 1900s through the founding of the People’s Republic, the installation of the socialist realist aesthetic, the collapse of the idea of utopia in the aftermath of the Cultural Revolution, and the gradual cannibalization of the socialist past by consumer culture at the century’s end. Throughout, he highlights the dynamic tension between everyday life and the heroic ideal.
Tang uncovers crucial clues to modern Chinese literary and cultural practices through readings of Wu Jianren’s 1906 novel The Sea of Regret and works by canonical writers Lu Xun, Ding Ling, and Ba Jin. For the midcentury, he broadens his investigation by considering theatrical, cinematic, and visual materials in addition to literary texts. His reading of the 1963 play The Young Generation reveals the anxiety and terror underlying the exhilarating new socialist life portrayed on the stage. This play, enormously influential when it first appeared, illustrates the utopian vision of China’s lyrical age and its underlying discontents—both of which are critical for understanding late-twentieth-century China. Tang closes with an examination of post–Cultural Revolution nostalgia for the passion of the lyrical age.
Throughout Chinese Modern Tang suggests a historical and imaginative affinity between apparently separate literatures and cultures. He thus illuminates not only Chinese modernity but also the condition of modernity as a whole, particularly in light of the postmodern recognition that the market and commodity culture are both angel and devil. This elegantly written volume will be invaluable to students of China, Asian studies, literary criticism, and cultural studies, as well as to readers who study modernity.

"Citadel" evokes a rich mixture of associations—from images of urban centers of commerce and culture to war and the need to defend what is fortified within. Preserving its layered meanings, O. K. Werckmeister plucks the word from its usual moorings and employs it as a compelling metaphor in a brilliant retrospective of contemporary Western culture.

Winner of the 1990 Foundations of Political Theory Section of the American Political Science Association "First Book Award"

Now available in paperback with a new preface by the author, this award-winning book breaks new ground by challenging traditional concepts of community in political theory. William Corlett brings the diverse (and sometimes contradictory) work of Foucault and Derrida to bear on the thought of Pocock, Burke, Lincoln, and McIntyre, among others, to move beyond the conventional dichotomy of "individual vs. community," arguing instead that community is best advanced within a politics of difference.

Alan Nadel provides a unique analysis of the rise of American postmodernism by viewing it as a breakdown in Cold War cultural narratives of containment. These narratives, which embodied an American postwar foreign policy charged with checking the spread of Communism, also operated, Nadel argues, within a wide spectrum of cultural life in the United States to contain atomic secrets, sexual license, gender roles, nuclear energy, and artistic expression. Because these narratives were deployed in films, books, and magazines at a time when American culture was for the first time able to dominate global entertainment and capitalize on global production, containment became one of the most widely disseminated and highly privileged national narratives in history.
Examining a broad sweep of American culture, from the work of George Kennan to Playboy Magazine, from the movies of Doris Day and Walt Disney to those of Cecil B. DeMille and Alfred Hitchcock, from James Bond to Holden Caulfield, Nadel discloses the remarkable pervasiveness of the containment narrative. Drawing subtly on insights provided by contemporary theorists, including Baudrillard, Foucault, Jameson, Sedgwick, Certeau, and Hayden White, he situates the rhetoric of the Cold War within a gendered narrative powered by the unspoken potency of the atom. He then traces the breakdown of this discourse of containment through such events as the Bay of Pigs invasion and the Free Speech Movement at Berkeley, and ties its collapse to the onset of American postmodernism, typified by works such as Catch–22 and The Man Who Shot Liberty Valence.
An important work of cultural criticism, Containment Culture links atomic power with postmodernism and postwar politics, and shows how a multifarious national policy can become part of a nation’s cultural agenda and a source of meaning for its citizenry.