"What a fine and illuminating book! Shanghai Splendor is an important and captivating work of scholarship."—David Strand, author of Rickshaw Beijing: City People and Politics in the 1920s "This in an outstanding work. Although Shanghai has been among the most popular subjects for scholars in modern Chinese studies, one has yet to see a project as impressive as this. Yeh tells a most fascinating story."—David Der-wei Wang, author of The Monster That Is History: History, Violence, and Fictional Writing in 20th Century China

Jewish Wayfarers in Modern China focuses on the many extraordinary contacts between East and West in China during the 20th century. Through a collection of short biographies situated in the context of Chinese and Western history, it offers a panoramic view of China as experienced by many different persons of Jewish origins during their sojourn in the Middle Kingdom. The book offers a journey across vast reaches of space and back through time. Our impressions of visits to China have often been biased by sensational journalism, Hollywood films and literary entertainment that have distorted the reality of this vast country. Jewish Wayfarers in Modern China offers the reality of life in twentieth century China through the carefully-researched biographies of a variety of typical and less typical Western visitors to the Middle Kingdom.

For many in the west, "Shanghai" is the quintessence of East Asian modernity, whether imagined as glamorous and exciting, corrupt and impoverishing, or a complex synthesis of the good, the bad, and the ugly. How did "Shanghai" acquire this power? How did people across China and around the world decide that Shanghai was the place to be? Mediasphere Shanghai shows that partial answers to these questions can be found in the products of Shanghai’s media industry, particularly the Shanghai novel, a distinctive genre of installment fiction that flourished from the 1890s to the 1930s. Shanghai fiction supplies not only the imagery that we now consider typical of the city, but, more significantly, the very forms—simultaneity, interruption, mediation, and excess—through which the city could be experienced as a business and entertainment center and envisioned as the focal point of a mediasphere with a national and transnational reach. Existing paradigms of Shanghai culture tend to explain the city’s distinctive literary and visual aesthetics as merely the predictable result of economic conditions and social processes, but Alexander Des Forges maintains that literary texts and other cultural products themselves constitute a conceptual foundation for the city and construct the frame through which it is perceived. Working from a wide range of sources, including installment fiction, photographs, lithographic illustrations, maps, guidebooks, newspapers, and film, Des Forges demonstrates the significant social effects of aesthetic forms and practices. Mediasphere Shanghai offers a new perspective on the cultural history of the city and on the literature and culture of modern China in general.

A benchmark in the history of economics and of political ideas, Rothschild shows us the origins of laissez-faire economic thought and its relation to political conseratism in an unquiet world.

The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. After the Communist victory, Wang Qiyao continues to indulge in the decadent pleasures of the Shanghai bourgeoisie, secretly playing mahjong during the antirightist campaign and exchanging lovers on the eve of the Cultural Revolution. She reemerges in the 1980s as a purveyor of "old Shanghai," only to become embroiled in a tragedy that echoes the Hollywood noirs of her youth.

The reigning view of literary historians has been that the May Fourth movement of 1919 marks the division between the traditional and the modern in Chinese literature. This book argues that signs of reform and innovation can be discerned long before May Fourth, and that as China entered the arena of modern, international history in the late Qing, it was already developing its own complex matrix of incipient modernities. It demonstrates that late Qing fiction nurtured a creative, innovative poetics, one that was spurned by the reformers of the May Fourth generation in favor of Western-style realism. The author recognizes that a full account of modern Chinese fiction needs to ask why so many genres, styles, themes, and figures found in late imperial fiction were repressed by "modern" Chinese literary discourse. He focuses on four genres of late Qing fiction that have been either rudely dismissed in pejorative terms or simply ignored: depravity romances, court-case and chivalric cycles, grotesque exposés, and scientific fantasies. The author shows that in spite of the realist orthodoxy that has dominated Chinese literature since the May Fourth movement, these unwelcome genres have continually found their way back into mainstream discourse, their influence being increasingly evident in recent decades. This first comprehensive study of late Qing fiction discusses more than sixty works, at least half of which have rarely or never been dealt with by Western or Chinese scholars. Richly informed by contemporary literary theory, this book constitutes a polemical rethinking of the nature of Chinese literary and cultural modernity.

While Protestant Christians made up only a small percentage of China's overall population during the Republican period, they were heavily represented among the urban elite. Protestant influence was exercised through churches, hospitals, and schools, and reached beyond these institutions into organizations such as the YMCA (Young Men's Christian Association) and YWCA (Young Women's Christian Association). The YMCA's city associations drew their membership from the urban elite and were especially influential within the modern sectors of urban society. Chinese Protestant leaders adapted the social message and practice of Christianity to the conditions of the republican era. Key to this effort was their belief that Christianity could save China that is, that Christianity could be more than a religion focused on saving individuals, but could also save a people, a society, and a nation. Saving the Nation recounts the history of the Protestant elite beginning with their participation in social reform campaigns in the early twentieth century, continuing through their contribution to the resistance against Japanese imperialism, and ending with Protestant support for a social revolution. The story Thomas Reilly tells is one about the Chinese Protestant elite and the faith they adopted and adapted, Social Christianity. But it is also a broader story about the Chinese people and their struggle to strengthen and renew their nation to build a New China.