While the literature of hybrid regimes has given up the presumption that post-communist countries must democratize, its language and concepts still mostly relate to Western democracies. Magyar and Madlovics strongly argue for a vocabulary and grammar tailored to the specifics of the region. In 120 theses they unfold a conceptual framework with (1) a typology of post-communist regimes and (2) a detailed presentation of ideal-type actors and the political, economic, and social phenomena in these regimes. The book is a more digestible companion to the 800-page The Anatomy of Post-Communist Regimes (CEU Press, 2020), which was a detailed theoretical study with plenty of empirical illustrations.

Each of the 120 theses contains a statement and its concise discussion supported by illustrative tables, figures, and QR-codes that connect the interested reader to the more detailed analysis in the Anatomy. In a condensed variety, this book has kept the holistic approach of the Anatomy and treats the spheres of political, market, and communal action as parts of a single, coherent whole. The endeavor to synthesize a vast range of ideas does not, however, result in a too complicated text. On the contrary, freed from the implicit presumptions of democracy theory, the new terminology yields a readily usable toolkit of unambiguous means of expression to speak about post-communism.

In the 1990s, Greater China became the subject of debate as the site of either the danger of the “China threat” or the promise of Confucian capitalism. William A. Callahan argues that Greater China presents challenges not only to economic and political order but also to international relations theory. In fact, Greater China, though absent from geopolitical maps and international law, is very much present in economic and cultural exchange and exemplifies the contingent state of international politics. Callahan deconstructs the mainstream geopolitical and political-economic understandings of Greater China, tracing its emergence through an ethnographic analysis of four political “problems” in East Asia: the South China Sea disputes, Sino-Korean relations, the return of Hong Kong, and cross-straits relations. Callahan shows how bureaucrats, outlaws, tycoons, academics, workers, politicians, and hooligans alike produce Greater China through networks of relations in local, national, regional, global, and transnational space. Finally, Contingent States reveals how each of the “problems” provoked theoretical innovations that depart from standard conceptions of sovereignty, democracy, and the nation-state.William A. Callahan is senior lecturer of international politics and deputy director of the Center for Contemporary Chinese Studies at the University of Durham, England, and the author of Imagining Democracy: Reading “The Events of May” in Thailand and Pollwatching, Elections, and Civil Society in Southeast Asia.

Introducing radical counter-visions of race and slavery, and probing the legal and philosophical questions raised by indenture, The Coolie Speaks offers the first critical reading of a massive testimony case from Cuba in 1874. From this case, Yun traces the emergence of a "coolie narrative" that forms a counterpart to the "slave narrative." The written and oral testimonies of nearly 3,000 Chinese laborers in Cuba, who toiled alongside African slaves, offer a rare glimpse into the nature of bondage and the tortuous transition to freedom. Trapped in one of the last standing systems of slavery in the Americas, the Chinese described their hopes and struggles, and their unrelenting quest for freedom.

Yun argues that the testimonies from this case suggest radical critiques of the "contract" institution, the basis for free modern society. The example of Cuba, she suggests, constitutes the early experiment and forerunner of new contract slavery, in which the contract itself, taken to its extreme, was wielded as a most potent form of enslavement and complicity. Yun further considers the communal biography of a next-generation Afro-Chinese Cuban author and raises timely theoretical questions regarding race, diaspora, transnationalism, and globalization.

Early twentieth-century China paired the local community to the world--a place and time when English dominated urban-centered higher and secondary education and Chinese-edited English-language magazines surfaced as a new form of translingual practice.

Cosmopolitan Publics focuses on China's "cosmopolitans," Western-educated intellectuals who returned to Shanghai in the late 1920s to publish in English and who, ultimately, became both cultural translators and citizens of the wider world. Shuang Shen highlights their work in publications such as The China Critic and T'ien Hsia, providing readers with a broader understanding of the role and function of cultural mixing, translation, and multilingualism in China's cultural modernity.

Decades later, as nationalist biases and political restrictions emerged within China, the influence of the cosmopolitans was neglected and the significance of cosmopolitan practice was underplayed. Shen's encompassing study revisits and presents the experience of Chinese modernity as far more heterogeneous, emergent, and transnational than it has been characterized until now.

In a volume that represents the culmination of his life’s work in considering the relationship between culture and landscape, eminent scholar Yi-Fu Tuan argues that “cosmos” and “hearth” are two scales that anchor what it means to be fully and happily human. Illustrating this contention with examples from both his native China and his home of the past forty years, the United States, Tuan proposes a revised conception of culture, one thoroughly grounded in one’s own society but also embracing curiosity about the world. Optimistic and deeply human, this important volume lays out a path to being “at home in the cosmos.”

Hardcover:In this moving meditation on the difficult choices facing humanity in the next millennium, celebrated scholar Yi-Fu Tuan reaffirms his faith in the value of a cosmopolitan worldview. In a volume that represents the culmination of his life's work in considering the relationship between culture and landscape, Tuan argues that “cosmos” and “hearth” are two scales that anchor what it means to be fully and happily human. Hearth is our house and neighborhood, family and kinfolk, habit and custom. Cosmos, by contrast, is the larger reality-world, civilization, and humankind. Tuan addresses the extraordinary revival of interest in the hearth in recent decades, examining both the positive and negative effects of this renewed concern. Among the beneficent outcomes has been a revival of ethnic culture and sense of place. Negative repercussions abound, however, manifested as an upsurge in superstition, excessive pride in ancestry and custom, and a constricted worldview that when taken together can inflame local passions, leading at times to violent conflict-from riots in American cities to wars in the Balkans. In Cosmos and Hearth, Tuan takes the position that we need to embrace both the sublime and the humble, drawing what is valuable from each. Illustrating the importance of both cosmos and hearth with examples from his country of birth, China, and from his home of the past forty years, the United States, Tuan proposes a revised conception of culture, the “cosmopolitan hearth,” that has the coziness but not the narrowness and bigotry of the traditional hearth. Tuan encourages not only being thoroughly grounded in one’s own culture but also the embracing of curiosity about the world. Optimistic and deeply human, Cosmos and Hearth lays out a path to being “at home in the cosmos.” Born in China and educated in Australia, the Philippines, England, and the United States, Yi-Fu Tuan is professor of geography at the University of Wisconsin, Madison, and the author of Space and Place: The Perspective of Experience (Minnesota, 1977), Landscapes of Fear (Minnesota, 1982), The Good Life (1986), and Passing Strange and Wonderful: Aesthetics, Nature, and Culture (1993). Excerpt: “Thinking yields a twofold gain: although it isolates us from our immediate group it can link us both seriously and playfully to the cosmos-to strangers in other places and times; and it enables us to accept a human condition that we have always been tempted by fear and anxiety to deny, namely, the impermanence of our state wherever we are, our ultimate homelessness. A cosmopolite is one who considers the gain greater than the loss. Having seen something of the splendid spaces, he or she will not want to return, permanently, to the ambiguous safeness of the hearth.”

Counterfeiting tops the list of organized crimes committed worldwide, raking in nearly half a trillion dollars in 2019. The impact of this illicit business is felt by consumers, brand owners, state authorities, and workers, and it impacts the economy. Moreover, its proliferation has fueled the advancement of organized crime groups.

In his illuminating study, Counterfeited in China, Ko-lin Chin investigates this lucrative industry and its emergence in China. His face-to-face interviews with counterfeiters — business owners, workers, facilitators, and key informants — in the hub of Guangzhou, China reveal how businesses that design, produce, and distribute fake and unauthorized luxury goods manage the risks inherent in their business.

Counterfeited in China examines the individual and group characteristics of counterfeiters and their relationships with organized crime; analyzes the economic aspects of counterfeiting; assesses the relationships among counterfeiting, violence, and corruption; and seeks to understand the demand for counterfeit goods. Chin also discusses the role of Chinese authorities and other parties in the war against counterfeiting.  

Assessing the state of the industry and its future, Chin provides fascinating new insights into the modus operandi of counterfeiters.

Peng Xu’s The Courtesan’s Memory, Voice, and Late Ming Drama argues that courtesans of the era played an active role in the theater and their impact manifested in Chinese literary history, albeit concealed or erased. In the late Ming dynasty (1368–1644), theater was dominated by male performers with professional actresses largely absent from the stage, unlike in the Yuan dynasty (1271–1368), where women performed without restriction in theater troupes. Despite the prevailing assumption that women played no part in the theatrical movement, The Courtesan’s Memory, Voice, and Late Ming Drama illuminates how courtesans, as serious theater artists and playwrights, left a significant mark on the male-dominated dramatic and literary landscapes.

This study profoundly remaps the textbook narratives of gender bias, challenges modern prejudices prevalent in the literary history of Chinese drama, and reveals how theatrical conditions and writing styles shifted to accommodate courtesan performances. Utilizing a wide range of sources such as scripts, city guides, biographies, diaries, letters, wood-block illustrations, and paintings, this study distinguishes itself from earlier studies of Chinese courtesans by not thematizing courtesans for their allegorical values, but rather pinpointing their agency in shaping the features of Chinese theater and recognizing courtesans as a source of creativity and development in the medium. Xu’s focus on courtesan performance culture allows for fresh readings of canonical Chinese plays, opening up new ways of understanding the history of Chinese drama written by women, thus deviating from standard historiography based solely on the writings of men.

 

Richly imagined and recounted in vivid prose of extraordinary beauty, this book is a stunning illustration of Ransmayr’s talent for imbuing a captivating tale with intense metaphorical, indeed metaphysical force.

The world’s most powerful man, Qiánlóng, emperor of China, invites the famous eighteenth-century clockmaker Alister Cox to his court in Beijing. There, in the heart of the Forbidden City, the Englishman and his assistants are to build machines that mark the passing of time as a child or a condemned man might experience it and that capture the many shades of happiness, suffering, love, and loss that come with that passing.

Mystified by the rituals of a rigidly hierarchical society dominated by an unimaginably wealthy, god-like ruler, Cox musters all his expertise and ingenuity to satisfy the emperor’s desires. Finally, Qiánlóng, also known by the moniker Lord of Time, requests the construction of a clock capable of measuring eternity—a perpetuum mobile. Seizing this chance to realize a long-held dream and honor the memory of his late beloved daughter, yet conscious of the impossibility of his task, Cox sets to work. As the court is suspended in a never-ending summer, festering with evil gossip about the monster these foreigners are creating, the Englishmen wonder if they will ever escape from their gilded cage. More than a meeting of two men, one isolated by power, the other by grief, this is an exploration of mortality and a virtuoso demonstration that storytelling alone can truly conquer time.
 

Creating with Roots is a critical introduction to the history, theory, and creative practice of Chinese national folk dance, the Chinese-speaking world’s most popular contemporary dance form. A complex cultural and artistic phenomenon that resists simple categorization, Chinese national folk dance merges folkloric material with contemporary stage aesthetics and blends rural folk dances of the Han majority with dances representing China’s minoritized ethnic communities, bridging cultural differences of geography, economic class, and ethnicity. As such, Chinese national folk dance has become a lightning rod for current debates in the arts worldwide—how to balance local heritage with artistic innovation, how to maintain cultural integrity amid commercialization and Eurocentrism, and the ethics of representation in contemporary multiculturalism. Chinese national folk dance is increasingly a globalized phenomenon: schools, classes, competitions, and performances of professionals and amateurs now exist all across the world. Originally published in Chinese and authored by prominent Chinese dance scholar, Rui Xu, this English translation will be an essential resource for the global conversation about how dancers and choreographers navigate tradition and innovation in contemporary national folk dance choreography. 

Creating with Roots offers a detailed breakdown of key terms and concepts necessary for understanding Chinese national folk dance and analyzes 37 examples of choreography dating from the 1940s to 2000. The author situates these explanations within the longer history of cultural practice and theory in China and in relation to the international dance discourses of the former Soviet Union, Eastern Europe, Western Europe, and North America. 

China is a multicultural country home to fifty-five ethnic minority groups, yet due to linguistic and cultural barriers many of these groups remain understudied or unknown in the West. The Qiang, one of modern China’s officially recognized ethnic minorities, is also China’s longest-standing ethnoracial identity marker that has existed since the earliest recorded history of China. Creative Belonging investigates the formation and evolution of the Qiang as a people, a concept, and a cultural history in China. It further examines how the contemporary Qiang ethnic group interacts strategically with mainstream Chinese society, challenging the historically entrenched hierarchies between the sociocultural “centers” of China and its ethnic “peripheries.” 

This book is based on years of ethnographic and textual-archival research in the Himalayan regions of southwest China, where the contemporary Qiang group resides. Drawing on a diverse range of official and local political discourses and previously unstudied literary, historiographical, and cinematic works, Yanshuo Zhang illuminates how the Qiang have carved out spaces of “creative belonging” within the parameters of multiculturalism in contemporary China. Rooted in ethnographic and textual-archival research, the book presents original materials produced by Qiang indigenous writers, scholars, artists, grassroots village cultural activists, and entrepreneurs at both the local and the global levels. Creative Belonging invites readers to rethink ethnicity and national belonging in China by centering minority groups’ efforts to expand the meanings and implications of “Chinese culture.” 

The South Korean warship Cheonan was sunk in mysterious circumstances on 26 March 2010. The remarkable events that followed are analysed by Tim Beal and woven into a larger study of the increasingly volatile relations between North and South Korea and US concern about the rise of China.

South Korea's stance towards the North has hardened significantly since the new conservative government came to power. Beal argues that the South moved quickly to use the sinking of the Cheonan to put international pressure on the North, even before the cause of the sinking had been established. The US followed suit by attempting to pressurise China into condemning North Korea. The media reports at the time presented an open and shut case of unprovoked North Korean aggression, but the evidence points towards the accidental triggering of a South Korean mine as the cause and South Korean fabrication to incriminate the North.

With the South bent on forcing the fall of the North's regime with US help and China unlikely to stand idly by, this book offers an essential guide to the key factors behind the crisis and possible solutions.

Challenges to Silicon Valley’s dominant role in conjuring and patenting the world’s technological futures are arising around the world. As digital media technologies emerge from new, globally dispersed locations, a multipolar order of communication innovation seems to be in the making. Yet recovering our ability to imagine futures otherwise requires negotiating conditions—economic, geopolitical, sociocultural, and ecological—rather than reproducing them under the pretext of breaking with the present. The essays in this volume examine research on such conditions critically and comparatively in a variety of geographies. Paying due attention to China’s rise as an innovative platform society and AI powerhouse, this book addresses the broader question of a shifting world order and trends that are shaped by China’s influence but that extend beyond its borders. Looking at multipolar communication innovation through various critical lenses, our technological futures simultaneously appear to be old, new, and uncertain, while the infrastructures and platforms underpinning communication innovation both affiliate communities and set them apart.

In Cultural Revolution and Revolutionary Culture, Alessandro Russo presents a dramatic new reading of China's Cultural Revolution as a mass political experiment aimed at thoroughly reexamining the tenets of communism. Russo explores four critical phases of the Cultural Revolution, each with its own reworking of communist political subjectivity: the historical-theatrical “prologue” of 1965; Mao's attempts to shape the Cultural Revolution in 1965 and 1966; the movements and organizing between 1966 and 1968 and the factional divides that ended them; and the mass study campaigns from 1973 to 1976 and the unfinished attempt to evaluate the inadequacies of the political decade that brought the Revolution to a close. Among other topics, Russo shows how the dispute around the play Hai Rui Dismissed from Office was not the result of a Maoist conspiracy, but rather a series of intense and unresolved political and intellectual controversies. He also examines the Shanghai January Storm and the problematic foundation of the short-lived Shanghai Commune. By exploring these and other political-cultural moments of Chinese confrontations with communist principles, Russo overturns conventional wisdom about the Cultural Revolution.

As incredible as it may seem, the American missionaries who journeyed to China in 1860 planning solely to spread the Gospel ultimately reinvented their entire enterprise. By 1900, they were modernizing China with schools, colleges, hospitals, museums, and even YMCA chapters. In Cultures Colliding, John R. Haddad nimbly recounts this transformative institution-building—how and why it happened—and its consequences. 

When missionaries first traveled to rural towns atop mules, they confronted populations with entrenched systems of belief that embraced Confucius and rejected Christ. Conflict ensued as these Chinese viewed missionaries as unwanted disruptors. So how did this failing movement eventually change minds and win hearts? Many missionaries chose to innovate. They built hospitals and established educational institutions offering science and math. A second wave of missionaries opened YMCA chapters, coached sports, and taught college. Crucially, missionaries also started listening to Chinese citizens, who exerted surprising influence over the preaching, teaching, and caregiving, eventually running some organizations themselves. They embraced new American ideals while remaining thoroughly Chinese.

In Cultures Colliding, Haddad recounts the unexpected origins and rapid rise of American institutions in China by telling the stories of the Americans who established these institutions and the Chinese who changed them from within. Today, the impact of this untold history continues to resonate in China.

China’s news sector is a place where newsmakers, advertising executives, company bosses, and Party officials engage one another in contingent and evolving arrangements that run from cooperation and collaboration to manipulation and betrayal. Drawing on long-term ethnographic fieldwork with journalists, editors, and executives at a newspaper in Guangzhou, The Currency of Truth brings its readers into the lives of the people who write, publish, and profit from news in this milieu. The book shows that far from working as mere cogs in a Party propaganda machine, these individuals are immersed in fluidly shifting networks of formal and informal relationships, which they carefully navigate to pursue diverse goals.

In The Currency of Truth, Emily H. C. Chua argues that news in China works less as a medium of mass communication than as a kind of currency as industry players make and use news articles to create agreements, build connections, and protect and advance their positions against one another. Looking at the ethical and professional principles that well-intentioned and civically minded journalists strive to uphold, and the challenges and doubts that they grapple with in the process, Chua brings her findings into conversation around “post-truth” news and the “crisis” of professional journalism in the West.  The book encourages readers to rethink contemporary news, arguing that rather than setting out from the assumption that news works either to inform or deceive its publics, we should explore the “post-public” social and political imaginaries emerging among today’s newsmakers and remaking the terms of their practice.