As international newspaper headlines increasingly focus on energy and security issues, one could almost forget that the main ties that bind states and regions of the world together are trade and... Show moreAs international newspaper headlines increasingly focus on energy and security issues, one could almost forget that the main ties that bind states and regions of the world together are trade and economic relations. Show less
When photography is discussed as a colonialist imaging practice, two obvious notions of seeing and being seen come into play. Seeing implies empowerment; being seen does not.
Research into a group of 350 elderly Chinese migrants in the Netherlands examines who amongst them expect to return to the homeland, who will regularly commute between China and the Netherlands and... Show moreResearch into a group of 350 elderly Chinese migrants in the Netherlands examines who amongst them expect to return to the homeland, who will regularly commute between China and the Netherlands and who will, most likely, never leave their adopted country. A look at self-reported health within this group sheds light on the question, 'is migration bad for your health?' Show less
Most historians treat late imperial China, 1400-1900, as a time of fading and decay. Indeed, viewed backwards from the Opium War (1839-1842) and Taiping Rebellion (1850-1864), events before 1800... Show moreMost historians treat late imperial China, 1400-1900, as a time of fading and decay. Indeed, viewed backwards from the Opium War (1839-1842) and Taiping Rebellion (1850-1864), events before 1800 appear to have left China unprepared for modernity. But the 17th and 18th centuries can be considered not only as a 'late imperial' prelude to the end of traditional China, but as an 'early modern' harbinger of things to come. Show less
Fragments, marginal texts, and even ‘bad literature’ can sometimes take us further than better-known, canonical works. I was reminded of this after an unexpected find in Leiden University’s van... Show moreFragments, marginal texts, and even ‘bad literature’ can sometimes take us further than better-known, canonical works. I was reminded of this after an unexpected find in Leiden University’s van Gulik Collection. Show less
Since the late 1980s, scholars have viewed China’s progress towards market capitalism with great optimism, but in the last ten years intellectuals, both in China and abroad, have begun to voice... Show moreSince the late 1980s, scholars have viewed China’s progress towards market capitalism with great optimism, but in the last ten years intellectuals, both in China and abroad, have begun to voice reservations. Critics have pointed out China’s growing problems of income inequality, unemployment and environmental degradation. In this context of critical reflection, Viren Murthy argues that the work of the late Qing intellectual Zhang Taiyan is especially meaningful. Show less
While Chinese authorities closely monitor artists, artistic venues and performances, they give free rein to commercial culture as long as stability, prosperity and consumerism are sustained. The... Show moreWhile Chinese authorities closely monitor artists, artistic venues and performances, they give free rein to commercial culture as long as stability, prosperity and consumerism are sustained. The result, given China’s blistering urban economic growth, is that commercial pressure, more than government restriction, determines the conditions of cultural production and export. This has led to a kind of mass production of the art and culture the state approves of and a snuffing out of what it does not. This is how Chinese communist kitsch has transformed into a kitsch of globalised capitalism. Show less
In the mountains of northwest China, crowds of people gather at remote temples every summer. The normally grim and deserted landscape becomes a backdrop for elaborate feasting, chanting and... Show moreIn the mountains of northwest China, crowds of people gather at remote temples every summer. The normally grim and deserted landscape becomes a backdrop for elaborate feasting, chanting and sacrificing. While the mood is festive, the meetings take place in a region which has seen centuries of violent conflict between Muslims and Buddhists, Han-Chinese and Tibetans. Inter-ethnic relationships remain uneasy, but during the temple festivals people from different backgrounds accept the challenge of competing with one another on a very different kind of battlefield: that of love. Show less
Mian Mian pouring beer on Wei Hui's head in a Shanghai bar; Wei Hui baring her breasts at a press conference; mutual threats on the internet - self-labelled Beauty Writers Mian Mian and Wei Hui... Show moreMian Mian pouring beer on Wei Hui's head in a Shanghai bar; Wei Hui baring her breasts at a press conference; mutual threats on the internet - self-labelled Beauty Writers Mian Mian and Wei Hui fear no accusations in their public catfight over alleged plagiarism in turn-of-the-century Shanghai. The rivalry began after publication of their semi-autobiographical 'shock novels' portraying hedonists searching for love and self in Shenzhen and Shanghai. Plagiarism or not, Wei Hui's Shanghai Baby and Mian Mian's Candy are products of their time. Show less
Beijing, 16 December 2005, 3pm. Two hours before Beijing's first Gay and Lesbian Culture Festival, organisers are making final arrangements at On/Off, a well-known Beijing gay bar, when policemen... Show moreBeijing, 16 December 2005, 3pm. Two hours before Beijing's first Gay and Lesbian Culture Festival, organisers are making final arrangements at On/Off, a well-known Beijing gay bar, when policemen barge in. Despite organisers' fervent defence of the festival's innocuous nature, the officers insist the event is illegal without prior official consent. After finding an expired fire extinguisher, the police force the owner to close his bar for a week. The first attempt to launch a major cultural event featuring the Chinese gay community is stymied. Show less
