By examining how the Middle Kingdom has been portrayed by foreigners and the Chinese themselves, this volume advances a new perspective in our reading and interpretation of the Chinese past by placing these “producers” and “presenters” of China in the spotlight. The chapters probe how these figures produced or presented the country, cross-examining their backgrounds and circumstances. Their gaze upon the Middle Kingdom was dictated by religious and political conviction, but also particularly by the consumers of that gaze. Like invisible hands, “producers” and “consumers” of China continue to constrain representations of the country, looming larger than the literary, artistic or journalistic works they produce. This volume also addresses scholars of Europe and America who have overlooked what Western writers on China reveal about their own contexts – which is indeed often more than they reveal about their ostensible subject. As such, the Middle Kingdom serves as a convenient mirror to reflect European and American anxieties and ambitions.

A beautiful, sweeping, multigenerational narrative that spans from nineteenth century south China to modern day Singapore. I would learn that when families tell stories, what they leave out re-defines what they keep in. With my family, these were not secrets intentionally withheld. Just truths too painful to confront. In the last years of her life, Teresa Lim's mother, Violet Chang, had copies of a cherished family photograph made for those in the portrait who were still alive. The photo is mounted on cream card with the name of the studio stamped at the bottom in Chinese characters. The place and date on the back: Hong Kong, 1935. Teresa would often look at this photograph, enticed by the fierceness and beauty of her great-aunt Fanny looking back at her. But Fanny never seemed to feature in the family stories that were always being told and retold. Why? she wondered. This photograph set Teresa on a journey to uncover her family's remarkable history. Through detective work, serendipity, and the kindness of strangers, she was guided to the fascinating, ordinary, yet extraordinary life of her great-aunt and her world of sworn spinsters, ghost husbands and the working-class feminists of nineteenth century south China. But to recover her great-aunt's past, we first must get to know Fanny's family, the times and circumstances in which they lived, and the momentous yet forgotten conflicts that would lead to war in Singapore and, ultimately, a long-buried family tragedy. The Interpreter's Daughter is a beautifully moving record of an extraordinary family history. For fans of Wild Swans, The Hare With Amber Eyes, and Falling Leaves, The Interpreter's Daughter is a classic in the making.

Although race—a concept of human difference that establishes hierarchies of power and domination—has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality—from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants—Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.

Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both in and outside of China. While the large Chinese markets are coveted by Hollywood, the commercial film industry within the People’s Republic of China has undergone rapid expansion since the 1990s. Its own production, distribution and exhibition capacities have increased exponentially in the past 20 years, producing box-office success both domestically and abroad. This volume gathers the work of a range of established scholars and newer voices on Chinese cinemas to address questions that interrogate both Chinese films and the place and space of Chinese cinemas within the contemporary global film industries, including the impact on independent filmmaking both within and outside of China; the place of Chinese cinemas produced outside of China; and the significance of new internal and external distribution and exhibition patterns on recent conceptions of Chinese cinemas. This is an ideal book for students and researchers interested in Chinese and Asian Cinema, as well as for students studying topics such as World Cinema and Asian Studies.

This book is a timely and solid portrait of modern China from the First Opium War to the Xi Jinping era. Unlike the handful of existing textbooks that only provide narratives, this textbook fashions a new and practical way to study modern China. Written exclusively for university students, A-level or high school teachers and students, it uses primary sources to tell the story of China and introduces them to existing scholarship and academic debate so they can conduct independent research for their essays and dissertations. This book will be required reading for students who embark on the study of Chinese history, politics, economics, diaspora, sociology, literature, cultural, urban and women’s studies. It would be essential reading to journalists, NGO workers, diplomats, government officials, businessmen and travellers.

European Perceptions of China and Perspectives on the Belt and Road Initiative is a collection of fourteen essays on the way China is perceived in Europe today. These perceptions – and they are multiple – are particularly important to the People’s Republic of China as the country grapples with its increasingly prominent role on the international stage, and equally important to Europe as it attempts to come to terms with the technological, social and economic advances of the Belt and Road Initiative. The authors are, on the whole, senior academics specializing in such topics as International Relations and Security, Public Diplomacy, Media and Cultural Studies, and Philosophy and Religion from more than a dozen different European countries and are involved in various international projects focussed on Europe-China relations.