Examines Shanghai both as a real city and an imaginary locale, from diverse cultural and disciplinary perspectives.

Silencing Shanghai investigates the paradoxical and counterintuitive contrast between Shanghai’s emergence as a global city and the marginalization of its native population, captured through the rapid decline of the distinctive Shanghai dialect. From this unique vantage point, Fang Xu tells a story of power relations in a cosmopolitan metropolis closely monitored and shaped by an authoritarian state through policies affecting urban redevelopment, internal migration, and language. These state policies favor the rich, the resourceful, and the highly educated, while alienate the poorer and less educated Shanghainese geographically and linguistically. When the state vigorously promotes Mandarin Chinese through legal and administrative means, Shanghainese made the conscious yet reluctant choice of shifting from the dialect to the national language. At the same time, millions of migrants have little incentive to adopt the vernacular given that their relation to the state has already firmly established their legal, financial, and social standing in the city. The recent shift in the urban linguistic scene that silences the Shanghai dialect is ultimately part of the state-led global city-building process. Through the association of the use of national language with realizing the "China Dream," the state further eliminates the unique vernacular characters of Shanghai.

Examining the stories of diverse Christians in Shanghai, this book uses the city as a model to highlight how a minority religion in a city has interacted with other religions as well as social, cultural, political, and economic changes. Susangeline Y. Patrick illustrates how the history of Shanghai Christians sheds light on why and how Christians have accommodated social and political changes, and gives valuable insights into multiculturalism, globalization, sinicization, and ecclesiology. The interreligious dialogues between Shanghai Christians and other traditions such as Buddhism, Daoism, Confucianism, Islam, and Judaism throughout history provide worthy reflections on the roles of Christians in a multi-religious space.

This book explores the literary history of the zhiqing, Chinese educated youth, during the liberal 1980s era of the PRC. By incorporating personal experiences, literary representation, shared history, and theory, it argues that attention to bodies’ physical/physiological condition, as represented in their fictional works, can reveal their attitudes toward the shifting and anomalous socio-political environments, both at the time of their rustication in Mao Zedong’s era and at the time of writing about their experiences in Deng Xiaoping’s cities. It highlights the ideological transformation of educated youth writers’ malleable fictional bodies, which preserved and encoded their private ambivalence and dynamic compromises with political and literary dilemmas. By studying these "fictional bodies," this book deciphers the specific significance of labor, hunger, disability, and sexuality, negating the simplification of the fabricated embodiment as only containing and delivering iconoclastic spirit, sincere patriotism, personal struggle, socialist ideological control, and feminine self-consciousness. Exploring the community of Chinese educated youth, of which Xi Jinping was one, this will be a valuable resource to students and scholars of Comparative literature, Modern Chinese literature, and Modern Chinese history.

Analyzes how fangyan (local Chinese languages or dialects) were central to the creation of modern Chinese nationalism.

By the 1920s, much of the world was ‘dance mad,’ as dancers from Buenos Aires to Tokyo, from Manchester to Johannesburg and from Chelyabinsk to Auckland, engaged in the Charleston, the foxtrot and a whole host of other fashionable dances. Worlds of social dancing examines how these dance cultures spread around the globe at this time and how they were altered to suit local tastes. As it looks at dance as a ‘social world’, the book explores the social and personal relationships established in encounters on dance floors on all continents. It also acknowledges the impact of radio and (sound) film as well as the contribution of dance teachers, musicians and other entertainment professionals to the making of the new dance culture.

Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th century envisioned and enacted their own revolutions through the materiality of the theater apparatus.