This book will inspire readers who are concerned about the prospects for democracy in contemporary China by painting a picture of the Chinese self-exiles’ experiences in the 1950s and 1960s.

The conventional story of Hong Kong celebrates the people who fled the mainland in the wake of the establishment of the People’s Republic of China in 1949. In this telling, migrants thrived under British colonial rule, transforming Hong Kong into a cosmopolitan city and an industrial and financial hub. Unsettling Exiles recasts identity formation in Hong Kong, demonstrating that the complexities of crossing borders shaped the city’s uneasy place in the Sinophone world. Angelina Y. Chin foregrounds the experiences of the many people who passed through Hong Kong without settling down or finding a sense of belonging, including refugees, deportees, “undesirable” residents, and members of sea communities. She emphasizes that flows of people did not stop at Hong Kong’s borders but also bled into neighboring territories such as Taiwan and Macau. Chin develops the concept of the “Southern Periphery”—the region along the southern frontier of the PRC, outside its administrative control yet closely tied to its political space. Both the PRC and governments in the Southern Periphery implemented strict migration and deportation policies in pursuit of border control, with profound consequences for people in transit. Chin argues that Hong Kong identity emerged from the collective trauma of exile and dislocation, as well as a sense of being on the margins of both the Communist and Nationalist Chinese regimes during the Cold War. Drawing on wide-ranging research, Unsettling Exiles sheds new light on Hong Kong’s ambivalent relationship to the mainland, its role in the global Cold War, and the origins of today’s political currents.

Winner of the Foundation Council Award of the Georg-August-University of Göttingen Public Law Foundation in the category of “Outstanding Publications of Young Scientists”, 2017. In Nation and Ethnicity: Chinese Discourses on History, Historiography, and Nationalism (1900s-1920s) Julia C. Schneider give an analysis of nationalist and historiographical discourses among late imperial and early republican Chinese thinkers. In particular, she researches their approaches towards non-Chinese people within the Qing Empire and the question on how to integrate them into a Chinese nation-state. Non-Chinese people, mainly Manchus, Mongols, Tibetans, and Turkic Muslims, (Uyghurs), have not been considered as important factors in the history of early Chinese nationalism so far. But Chinese nationalist and historiographical discourses tell not only a lot about the Chinese image of the Other, but also shed new light on the images of the Chinese Self and its assumed ability to assimilate and integrate other ethnicities.

This controversial set of essays evaluates and extends international relations theory in light of the revolutionary events of past years. The contributors demonstrate how theoretical constructs did not anticipate Soviet foreign policies that led to the end of the Cold War.

The Cold War shaped the world we live in today - its politics, economics, and military affairs. This book shows how the globalization of the Cold War during the last century created the foundations for most of the key conflicts we see today, including the War on Terror. It focuses on how the Third World policies of the two twentieth-century superpowers - the United States and the Soviet Union - gave rise to resentments and resistance that in the end helped topple one superpower and still seriously challenge the other. Ranging from China to Indonesia, Iran, Ethiopia, Angola, Cuba, and Nicaragua, it provides a truly global perspective on the Cold War. And by exploring both the development of interventionist ideologies and the revolutionary movements that confronted interventions, the book links the past with the present in ways that no other major work on the Cold War era has succeeded in doing.

The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.