The central theme of this volume is notions of time and space in Chinese culture. Seventeen scholars of various disciplinary backgrounds have treated topics within this general perspective.

All cultures and times have their own notions of time and space. Being one of the fundamental ideas in every society they influence virtually every aspect of society. In this book the authors explain the notions of time and space in China, how culturally concrete and particularly Chinese they are and how significant such Chinese cultural-ness of these notions is. Seventeen scholars of various disciplinary backgrounds have treated topics within this general perspective in a comprehensive way.

This book is an exploration of how Chinese communites in the United States and Germany create and disseminate a sense of diasporic Chinese identity. It not only compares the local conditions of the Chinese communities in the two locations, but also moves to a global dimension to track the Chinese transnational imaginary. Van Ziegert analyzes three strategies that overseas Chinese use to articulate their identities as diasporic subjects: being more American/German being more Chinese hybridizing and commodifying Chinese culture through trans-cultural performances. These three strategies are not mutually exclusive and they often intersect and supplement each other in unexpected ways. The author also analyzes how the everyday lives of overseas Chinese connect with global and local factors, and how these experiences contribute to the formation of a global Chinese identity.

This book examines the formation of the Chinese empire through its reorganization and reinterpretation of its basic spatial units: the human body, the household, the city, the region, and the world. The central theme of the book is the way all these forms of ordered space were reshaped by the project of unification and how, at the same time, that unification was constrained and limited by the necessary survival of the units on which it was based. Consequently, as Mark Edward Lewis shows, each level of spatial organization could achieve order and meaning only within an encompassing, superior whole: the body within the household, the household within the lineage and state, the city within the region, and the region within the world empire, while each level still contained within itself the smaller units from which it was formed. The unity that was the empire's highest goal avoided collapse back into the original chaos of nondistinction only by preserving within itself the very divisions on the basis of family or region that it claimed to transcend.

Implicit in its title, this book aims at giving readers a better understanding of Chinese notions of time in the tradition of Chinese historical thinking. "Time" is a basic subject of humanistic enquiry and this book consists of nine essays, which have given indepth studies to Chinese ways of conceiving "time" from a variety of perspectives, with the philosophical, historical and anthropological being most salient. The subject matter therefore straddles several disciplines, and individual essays will be of interest to different clusters of scholars. It is also a stimulating book for lay readers who are broadly familiar with Chinese history.

Emotion takes place. Rather than an interior state of mind in response to the outside world, emotion per se is spatial, at turns embedding us from without, transporting us somewhere else, or putting us ahead of ourselves. In this book, Ling Hon Lam gives a deeply original account of the history of emotions in Chinese literature and culture centered on the idea of emotion as space, which the Chinese call “emotion-realm” (qingjing). Lam traces how the emotion-realm underwent significant transformations from the dreamscape to theatricality in sixteenth- to eighteenth-century China. Whereas medieval dreamscapes delivered the subject into one illusory mood after another, early modern theatricality turned the dreamer into a spectator who is no longer falling through endless oneiric layers but pausing in front of the dream. Through the lens of this genealogy of emotion-realms, Lam remaps the Chinese histories of morals, theater, and knowledge production, which converge at the emergence of sympathy, redefined as the dissonance among the dimensions of the emotion-realm pertaining to theatricality.The book challenges the conventional reading of Chinese literature as premised on interior subjectivity, examines historical changes in the spatial logic of performance through media and theater archaeologies, and ultimately uncovers the different trajectories that brought China and the West to the convergence point of theatricality marked by self-deception and mutual misreading. A major rethinking of key terms in Chinese culture from a comparative perspective, The Spatiality of Emotion in Early Modern China develops a new critical vocabulary to conceptualize history and existence.

This book is divided into three main parts: an introduction to theories of culture, a section on Chinese culture, and one on cultural construction. The first part can be interpreted as an attempt to explore the meta-theoretical system of culture at the philosophical level. Based on the concept of “culture as ways of living,” the book further defines “culture” as “the preparation of people,” including the processes by which people adapt to local cultural and social customs. It stresses the subjectivity of culture, and the cultural rights and responsibilities of humankind. The second part takes on the subjective perspective of contemporary Chinese culture, interpreting it within the context of the historical situation of the Chinese people and nation, before engaging in a systematic reflection on several fundamental issues of Chinese culture. It closes by evaluating Chinese cultural practices and formulating a type of contemporary cultural self-identity. The book’s third part focuses on the interconnection between the revival of the Chinese nation and the modernization of Chinese society, analyzing the conditions and challenges for the three primary types of contemporary Chinese culture: material culture, political culture and spiritual culture. Lastly, the book puts forward suggestions concerning several of the critical problems facing a society in transition.