Discussions of China’s early twentieth-century modernization efforts tend to focus almost exclusively on cities, and the changes, both cultural and industrial, seen there. As a result, the communist peasant revolution appears as a decisive historical break. Kate Merkel-Hess corrects that misconception by demonstrating how crucial the countryside was for reformers in China long before the success of the communist revolution. In The Rural Modern, Merkel-Hess shows that Chinese reformers and intellectuals created an idea of modernity that was not simply about what was foreign and new, as in Shanghai and other cities, but instead captured the Chinese people’s desire for social and political change rooted in rural traditions and institutions. She traces efforts to remake village education, economics, and politics, analyzing how these efforts contributed to a new, inclusive vision of rural Chinese life. Merkel-Hess argues that as China sought to redefine itself, such rural reform efforts played a major role, and tensions that emerged between rural and urban ways deeply informed social relations, government policies, and subsequent efforts to create a modern nation during the communist period.

Since the beginning of the twentieth century, modern Chinese intellectuals, reformers, revolutionaries, leftist journalists, and idealistic youth had often crossed the increasing gap between the city and the countryside, which made the act of “going to the countryside” a distinctively modern experience and a continuous practice in China. Such a spatial crossing eventually culminated in the socialist state program of “down to the villages” movements during the 1960s and 1970s. What, then, was the special significance of “going to the countryside” before that era? Going to the Countryside deals with the cultural representations and practices of this practice between 1915 and 1965, focusing on individual homecoming, rural reconstruction, revolutionary journeys to Yan’an, the revolutionary “going down to the people” as well as going to the frontiers and rural hometowns for socialist construction. As part of the larger discourses of enlightenment, revolution, and socialist industrialization, “going to the countryside” entailed new ways of looking at the world and ordinary people, brought about new experiences of space and time, initiated new means of human communication and interaction, generated new forms of cultural production, revealed a fundamental epistemic shift in modern China, and ultimately created a new aesthetic, social, and political landscape. As a critical response to the “urban turn” in the past few decades, this book brings the rural back to the central concern of Chinese cultural studies and aims to bridge the city and the countryside as two types of important geographical entities, which have often remained as disparate scholarly subjects of inquiry in the current state of China studies. Chinese modernity has been characterized by a dual process that created problems from the vast gap between the city and the countryside but simultaneously initiated constant efforts to cope with the gap personally, collectively, and institutionally. The process of “crossing” two distinct geographical spaces was often presented as continuous explorations of various ways of establishing the connectivity, interaction, and relationship of these two imagined geographical entities. Going to the Countryside argues that this new body of cultural productions did not merely turn the rural into a constantly changing representational space; most importantly, the rural has been constructed as a distinct modern experiential and aesthetic realm characterized by revolutionary changes in human conceptions and sentiments.

This book is about Gao Village, in Jiangxi province, where the author was born and brought up, leaving when he was twenty-one to study English at Xiamen University. Since emigrating to Australia in 1990, he has returned every year to Gao Village, where his brother still lives. Several accounts of village life in China have been published, but all have been by Western or urban Chinese scholars. Mobo Gao's account is in every sense one from the inside. Though written as an academic work, it does not eschew personal stories and experiences relevant to the themes addressed. These cover a forty-year period and fall into four distinct themes; the village before and after land reform; the commune system; the dismantling of the communes; and the unfolding impact of the market economy, including increased migration to urban areas, from the late 1980s onwards.

The Effect of Modern Agriculture on Rural Development discusses the role of agriculture in rural development and analyzes the interaction between the social and technical aspects of rural development. The 22 chapters of the text are organized into five parts. Part I discusses social changes, modernization of agriculture, and process of rural transformation, and Part II deals with modernizing agriculture and the rural settlement pattern. Part III tackles agrotechniques and rural change, while Part IV covers the industrialization of agriculture and villages. Part V discusses agro-industrial integration and rural transformation. The book will be of great interest to individuals concerned with the effects of the modernization of agriculture on rural areas.

One of the most pressing issues in contemporary China is the massive rural land takings that have taken place at a scale unprecedented in human history. Expropriation of land has dispossessed and displaced millions for several decades, despite the protection of property rights in the Chinese constitution. Combining meticulous doctrinal analysis with in-depth historical investigation, Chun Peng tracks the origin and evolution of China's rural land takings law over the twentieth century and demonstrates an enduring tradition of land takings for state-led social transformation, under which the takings law is designed to be power-confirming. With changed socio-political circumstances and a new rights-respecting constitutional agenda, a rebalance of the law is now underway, but only within existing parameters. Peng provides a piercing analysis of how land has been used by the largest developing country in the world to develop itself, at what costs and where the future might be.

From the late 1940s to the early 1960s, Puerto Rico was swept by a wave of modernization, transforming the island from a predominantly rural society to an unquestionably urban one. A curious paradox ensued, however. While the island underwent rapid urbanization, and the rhetoric of economic development reigned over official discourses, the newly installed insular government, along with some academic circles and radio and television media, constructed, promoted, and sponsored a narrative of Puerto Rican culture based on rural subjects, practices, and spaces. By examining a wide range of cultural texts, but focusing on the film production of the Division of Community Education, the popular dance music of Cortijo y su combo, and the literary texts of Jose Luis Gonzalez and Rene Marques, Concrete and Countryside offers an in-depth analysis of how Puerto Ricans responded to this transformative period. It also shows how the arts used a battery of images of the urban and the rural to understand, negotiate, and critique the innumerable changes taking place on the island.

An essential look at American modernism as seen through the landscape painting of Thomas Hart Benton, Charles Demuth, Georgia O’Keeffe, Grant Wood, Andrew Wyeth, and many others. Paintings of New England coastlines, small-town Pennsylvania, Southwestern canyons, Midwestern farms, and other evocative landscapes fill the pages of Rural Modern. More than sixty modernist works, created between the wars, present an important and often overlooked history: how American painters adapted avant-garde styles like Cubism and Fauvism to reimagine familiar landscapes and develop a distinctively American modernist vernacular. Richly illustrated and with insightful essays by noted scholars, Rural Modern traces this development through a broad range of works by both lesser-known and widely celebrated artists, including Arthur Dove, Dale Nichols, Grant Wood, N. C. Wyeth, Charles Sheeler, Charles Burchfield, Marsden Hartley, and Stuart Davis. As important as the marvel of the twentieth-century city was to modernist artists such as these, many sought respite and even refuge in quieter, rural areas of the country, and soon helped to confirm modernism’s enduring nature.