An innovative study of colonialism in China, examining Shanghai's International Settlement as the site of key developments in the Republican period.

In the midst of ChinaÕs wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this Òtreaty portÓ from the Western world. A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of ShanghaiÕs urban landscapeÑforeign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.

In 1931, a sexologist arrived in colonial Shanghai to give a public lecture about homosexuality. In the audience was a medical student. The sexologist, Magnus Hirschfeld, fell in love with the medical student, Li Shiu Tong. Li became Hirschfeld’s assistant on a lecture tour around the world. Racism and the Making of Gay Rights shows how Hirschfeld laid the groundwork for modern gay rights, and how he did so by borrowing from a disturbing set of racist, imperial, and eugenic ideas. Following Hirschfeld and Li in their travels through the American, Dutch, and British empires, from Manila to Tel Aviv to having tea with Langston Hughes in New York City, and then into exile in Hitler’s Europe, Laurie Marhoefer provides a vivid portrait of queer lives in the 1930s and of the turbulent, often-forgotten first chapter of gay rights.

When World War II ended Chiang Kai-shek seemed at the height of his power-the leader of Nationalist China, one of the victorious Allied Powers in 1945 and with the financial backing of the US. Yet less than four years later, he lost the China's civil war against the communists. Offering an insightful chronological treatment of the years 1944–1949, Parks Coble addresses why Chiang was unable to win the war and control hyperinflation. Using newly available archival sources, he reveals the critical weakness of Chiang's style of governing, the fundamental structural flaws in the Nationalist government, bitter personal rivalries and Chiang's personal lack of interest in finance. This major work of revisionist scholarship will engage all those interested in the shaping of twentieth-century history.

This book explores the rise of Shanghai-based popular magazines produced by the “Mandarin Ducks and Butterflies School” in early twentieth-century China. It examines the national, gender, family, and social imaginaries constructed and negotiated through a complex network of relationships between popular writers, magazine editors, and their intended readers, which were represented in various forms of popular narratives, including patriotic stories, war/military stories, family narratives, domestic fiction, utopian writings, and industrial-business stories. The author argues that the national imagination, social ideals, and the notions of ideal womanhood and the new family, were intrinsically linked and integral to the search for cultural identity of the emerging Chinese “middle society” and an expression of their collective sensibilities, experiences, and aspirations. This book suggests that the cultural imaginaries configurated in these magazine stories articulated a shared quest for modernity, one that emphasized sentiment, quotidian experience, the pursuit of the modern family and individual success, strengthening of the nation, and the reinvention of cultural tradition. Popular magazines and fiction, therefore, became uniquely instrumental in catalyzing the process of Chinese modernity, which emerged and developed along the symbiotic interrelations between the private and the public, the traditional and the modern, and the real and the imaginary.

The years 1900 to 1954 marked the transformation from an exotic, colonized "Far East" to a more autonomous, prominent "Asia Pacific". This anthology examines the grand strategies of great powers as they vied for influence and ultimately hegemony in the region. At the turn of the twentieth century, the main contestants included the venerable British Empire and the aspiring Japan and United States. The unwieldy leviathan of China, the European imperial holdings in Southeast Asia, and the expanses of the western Pacific emerged as battlegrounds in literal and geopolitical terms. Other less powerful nations, such as India, Burma, Australia, and French Indochina, also exercised agency in crafting grand strategies to further their interests and in their interactions with those great powers. Among the many factors affecting all nations invested in the Asia Pacific were such traditional elements as economics, military power, and diplomacy, as well as fluid traits like ideology, culture, and personality. The era saw the decline of British and European influence in the Asia Pacific, the rise and fall of Japanese imperialism, the emergence of American primacy, the ongoing struggle for independence in Southeast Asia, and China’s resurrection as a contender for hegemony. Great powers shifted and so too did their grand strategies.

In Intoxicating Shanghai, Paul Bevan explores the work of a number of Chinese modernist figures in the fields of literature and the visual arts, with an emphasis on the literary group the New-sensationists and its equivalents in the Shanghai art world, examining the work of these figures as it appeared in pictorial magazines. It undertakes a detailed examination into the significance of the pictorial magazine as a medium for the dissemination of literature and art during the 1930s. The research locates the work of these artists and writers within the context of wider literary and art production in Shanghai, focusing on art, literature, cinema, music, and dance hall culture, with a specific emphasis on 1934 – ‘The Year of the Magazine’.