DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C. Himtington, Adviser Professor Ellen Johnston Laing Professor Howard Crane History of Art Graduate Program Professor Xiaomei Chen UMI Number 9971636 UMI’ UMI Mfcroform9971636 Copyright 2000 by Bell & Howell Information and Leaming Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Belt & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Kuiyi Shen ©2000 ABSTRACT This dissertation, which focuses on the late Qing and early twentieth century Chinese artist Wu Changshi (1844-1927), argues that fundamental changes took place in the economics of the Chinese art world at the end of the nineteenth century that led to basic shifts in the attitudes of artists and patrons to each other and to art itself. The remarkable career of Wu Changshi, China’s most famous painter at the time of his death in 1927, makes possible a case study of the transformation of China’s cultural world between about 1895 to 1905 and of the contradictions inherent in the life of a modem traditionalist artist. Bom and educated into the Confiician literati class, Wu spent the first fifty-five years of his life seeking to become a scholar-official. Ironically, he failed at this traditional career path, and by 1900 found himself at the center of a burgeoning urban art world, where he became a great success in the highly commodified Shanghai cultural scene. The four chapters of this dissertation discuss the economic, cultural, and social background of Shanghai in the period; patronage of art in Shanghai, including the growth of art shops and art societies; Wu Changshi’s biography, social network, and painting, with reference to his unpublished correspondence; and his modem legacy. Despite selling in an increasingly anonymous market, where buyers might include foreigners and u uneducated merchants, Wu remained faithful, in many respects, to his scholarly ideals. Most significantly, he succeeded in bringing the aesthetics of ancient epigraphy (finshixue) into his painting, calligraphy, and seal carving. His fundamentalist reform of Chinese painting imbued it with an archaeological flavor believed to embody the most authentic qualities of China’s ancient culture and aimed to rescue Chinese art from its late Qing dynasty decline. Ultimately, Wu’s art came to represent for sympathetic critics the strength needed to prevail in the modem world againstthe invasion of Western culture. He was successful in his own work, but his achievements ultimately failed to survive his own lifetime. Despite many competing claims to this title, we consider Wu Changshi to be China’s last great literati painter. m To my parents IV ACKNOWLEDGMENTS I would first of all like to thank the members of my dissertation committee, all of whom have given me the warmest advice and fiiendship over the years. John C. Huntington, as my mentor, has opened my eyes to new worlds of study and encouraged my work on Shanghai school in its early phases. He has been a steady source of intellectual and professional support throughout my graduate career. I am particularly grateful to Ellen Johnston Laing, my outside reader, whose contributions to my career and scholarly development are far greater than can be described here. Since she first learned of my Shanghai project in 1994, she has, with great generosity, offered useful advice and assistance. In particular, she has guided me to literary and art historical materials that were critical in my early explorations of the topic. Howard Crane has served as a role model in all aspects, as a scholar, as a teacher, and as an example of coUegiality. Xiaomei Chen’s open-minded, energetic, and creative approaches to the study of China in this country are a constant encouragement to my efforts and have also served as a model. I owe a great debt to the many fiiends and colleagues who provided me access to invaluable documentary materials and works of art. Chen Xianxing, head of the rare book section of the Shanghai Library, has been particularly generous in finding for me unpublished correspondence by Shanghai school painters. Shan Guolin and Lu Fusheng not only provided me essential access to original works of art in the collections of the Shanghai Museum and Duoyumcuan, but also have provided lively and helpful intellectual exchanges on many occasions. Ding Xiyuan kindly sent me his important publications on the Shanghai school. Michael Shih enthusiastically took time firom his busy schedule to show us an extraordinary number of wonderful paintings. Zheng Wei very generously shared his study of fan shops with me. Wu Changshi’s family members, particularly his grandson Wu Changye and his great-grandson Wu Minxian, Wang Geyi’s son, Wang Gongzhu, and Wang’s disciple Gao Yongping, were extremely helpful in showing me works of art and in answering my questions. 1 am also extremely grateful to Yang Xin and Shan Guoqiang of the Palace Museum, Zha Yongling of the Zhejiang Provincial Museum, Gu Sen of the China Academy of Art, Xue Yongnian of the Central Academy of Fine Arts, Zhu Junbo and Xue Jingqing of Duoyunxuan, Hu Jishen and Kuang Deao of the Anji Wu Changshi Memorial, Bao Yufei, Zhang Rend, and Zhao Guohui of the Shanghai People’s Fine Arts Publishing House, Liu Yushan of the People’s Fine Arts Publishing House, Beijing, Ding Maolu of the Xiling Yinshe, Zhao Songhua of the Shanghai Pictorial, Ju-hsi Chou, now of the Cleveland Museum of Art, James Cahill of the University of California, David Sensabaugh of Yale University, Mayching Kao, formerly of the Chinese University of Hong Kong, Christina Chu of the Hong Kong Museum of Art, Hatano Fumio and Funayama Masayuki of Kodansha, hnai Ryosetsu of Tokkai University, Maxwell Hearn of the Metropolitan Museum of Art, Jane Debevoise of the Guggenheim Museum, Tung Wu of the Boston Museum of Fine Arts, Julia White of the Honolulu Art Institate, Joseph v i Chang of the Freer Gallery of Art, Elinor Pearlstein of the Art Institute of Chicago, Lo Ching o f Taiwan Normal University, Yuba Tadanori of the Idemitsu Art Museum, and the staffs of the ShanghaiHistory Museum, the Shanghai Archive, and the Shanghai Wenshi Guan. In the early 1980s, my study of Shanghai school was encouraged and helped by Fu Hua, Cai Geng, and Hu Haichao. All of these individuals encouraged and facilitated my research. Without financial support firom The Ohio State University, including a Presidential Fellowship firom the Graduate School, History of Art travel grants, a Research Associateship and Teaching Associateships in the History of Art, my graduate training and this project could not have taken place. 1 would especially like to thank Susan Huntington, Christine Verzar, and Judy Andrews. 1 owe a debt to my daughter Jingjing, who as a little girl slept under my computer table in the OSU library. Now she is big and will soon start college, but she lent me Lily to give me joyfid breaks firom my writing. Finally, after I have used all my words, 1 cannot find enough to express my warmest thanks to Judy for her constructive criticism, encouragement, and tremendous help. vu VTTA June 17,1954 ....................................Bom, Shanghai, China 1978 ...................................... .......... BA., Fine Arts, Shanghai Teachers' University 1978-1982 ........................................Assistant /Associate Curator, Shanghai Agricultural Exhibition Center 1982-1985 ......................................... Editor, Shanghai People's Fine Arts Publishing House 1985-198 6 ......................................... .Exchange Editor and Researcher, Department of Fine Art, Kodansha Ltd. Publishers, Tokyo, Japan 1986-198 9 ........................................ Deputy Editor-in-Chief; Director of the Art Book Division; Editor-in-Chief (Shanghai)
Load more

Recommended publications
  • Summary English Version
    THE HONG KONG MONETARY AUTHORITY Established in April 1993, the Hong Kong Monetary Authority (HKMA) is the government authority in Hong Kong responsible for maintaining monetary and banking stability. The HKMA’s policy objectives are • to maintain currency stability, within the framework of the Linked Exchange Rate system, through sound management of the Exchange Fund, monetary policy operations and other means deemed necessary • to promote the safety and stability of the banking system through the regulation of banking business and the business of taking deposits, and the supervision of authorized institutions • to enhance the efficiency, integrity and development of the financial system, particularly payment and settlement arrangements. Contents THE HKMA AND ITS FUNCTIONS 2 About The HKMA 12 Maintaining Monetary Stability 13 Promoting Banking Safety 14 Managing the Exchange Fund 15 Developing Financial Infrastructure REVIEW OF 2003 18 Chief Executive’s Statement 24 The Economic and Banking Environment in 2003 28 Monetary Conditions in 2003 30 Banking Policy and Supervisory Issues in 2003 32 Market Infrastructure in 2003 34 International Financial Centre 36 Exchange Fund Performance in 2003 37 The Exchange Fund 39 The HKMA: The First 10 Years The first part of this booklet introduces 46 Abbreviations the work and policies of the HKMA. The second part of the booklet is a 47 Reference Resources summary of the HKMA’s Annual Report for 2003. The full Annual Report is available on the HKMA website both in interactive form and on PDF files. Hard copies may also be purchased from the HKMA: see Reference Resources on page 47 for details.
    [Show full text]
  • Manchus: a Horse of a Different Color
    History in the Making Volume 8 Article 7 January 2015 Manchus: A Horse of a Different Color Hannah Knight CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/history-in-the-making Part of the Asian History Commons Recommended Citation Knight, Hannah (2015) "Manchus: A Horse of a Different Color," History in the Making: Vol. 8 , Article 7. Available at: https://scholarworks.lib.csusb.edu/history-in-the-making/vol8/iss1/7 This Article is brought to you for free and open access by the History at CSUSB ScholarWorks. It has been accepted for inclusion in History in the Making by an authorized editor of CSUSB ScholarWorks. For more information, please contact [email protected]. Manchus: A Horse of a Different Color by Hannah Knight Abstract: The question of identity has been one of the biggest questions addressed to humanity. Whether in terms of a country, a group or an individual, the exact definition is almost as difficult to answer as to what constitutes a group. The Manchus, an ethnic group in China, also faced this dilemma. It was an issue that lasted throughout their entire time as rulers of the Qing Dynasty (1644- 1911) and thereafter. Though the guidelines and group characteristics changed throughout that period one aspect remained clear: they did not sinicize with the Chinese Culture. At the beginning of their rule, the Manchus implemented changes that would transform the appearance of China, bringing it closer to the identity that the world recognizes today. In the course of examining three time periods, 1644, 1911, and the 1930’s, this paper looks at the significant events of the period, the changing aspects, and the Manchus and the Qing Imperial Court’s relations with their greater Han Chinese subjects.
    [Show full text]
  • BANK of CHINA LIMITED (A Joint Stock Company Incorporated in the People's Republic of China with Limited Liability) Global Offering of 25,568,590,000 Offer Shares
    BOWNE OF HONG KONG 05/24/2006 06:09 NO MARKS NEXT PCN: 002.00.00.00 -- Page/graphics valid 05/24/2006 06:10BOM H00419 001.00.00.00 65 CONFIDENTIAL BANK OF CHINA LIMITED (A joint stock company incorporated in the People's Republic of China with limited liability) Global Offering of 25,568,590,000 Offer Shares The Offer Shares are being offered by Bank of China Limited (the ""bank'' or ""we''): (i) outside the United States through BOCI Asia Limited, Goldman Sachs (Asia) L.L.C. and UBS AG acting through its business group, UBS Investment Bank, (in alphabetical order) and other purchasers named on page W-39 of this Offering Circular (collectively, the ""International Purchasers'') in accordance with Regulation S (""Regulation S'') under the U.S. Securities Act of 1933, as amended (the ""Securities Act''), and (ii) within the United States by certain of the International Purchasers through their respective selling agents to qualified institutional buyers as defined in Rule 144A under the Securities Act (""Rule 144A''). This International Offering (as defined on page W-11 of this Offering Circular) is part of a Global Offering (as defined on page W-11 of this Offering Circular) in which the bank is concurrently offering Offer Shares in Hong Kong through the Hong Kong Public Offering (as defined on page W-11 of this Offering Circular). The offer price per Offer Share is HK$2.95. The offer price excludes a brokerage fee, a trading fee imposed by The Stock Exchange of Hong Kong Limited (the ""Hong Kong Stock Exchange''), and a transaction levy imposed by the Securities and Futures Commission of Hong Kong (the ""SFC''), which together amount to 1.01% of the offer price, and which shall be payable by investors.
    [Show full text]
  • Conceptualizing the Blue Frontier: the Great Qing and the Maritime World
    Conceptualizing the Blue Frontier: The Great Qing and the Maritime World in the Long Eighteenth Century Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultüt der Ruprecht-Karls-Universität Heidelberg Vorgelegt von Chung-yam PO Erstgutachter: Prof. Dr. Harald Fuess Zweitgutachter: Prof. Dr. Joachim Kurtz Datum: 28 June 2013 Table of Contents Abstract 2 Acknowledgments 3 Emperors of the Qing Dynasty 5 Map of China Coast 6 Introduction 7 Chapter 1 Setting the Scene 43 Chapter 2 Modeling the Sea Space 62 Chapter 3 The Dragon Navy 109 Chapter 4 Maritime Customs Office 160 Chapter 5 Writing the Waves 210 Conclusion 247 Glossary 255 Bibliography 257 1 Abstract Most previous scholarship has asserted that the Qing Empire neglected the sea and underestimated the worldwide rise of Western powers in the long eighteenth century. By the time the British crushed the Chinese navy in the so-called Opium Wars, the country and its government were in a state of shock and incapable of quickly catching-up with Western Europe. In contrast with such a narrative, this dissertation shows that the Great Qing was in fact far more aware of global trends than has been commonly assumed. Against the backdrop of the long eighteenth century, the author explores the fundamental historical notions of the Chinese maritime world as a conceptual divide between an inner and an outer sea, whereby administrators, merchants, and intellectuals paid close and intense attention to coastal seawaters. Drawing on archival sources from China, Japan, Korea, Vietnam, and the West, the author argues that the connection between the Great Qing and the maritime world was complex and sophisticated.
    [Show full text]
  • Towards Chinese Calligraphy Zhuzhong Qian
    Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings.
    [Show full text]
  • Similarities and Differences of the 1911 Revolutions in Mongolia and China
    The Mongolian Journal of International Affairs Number 1, 1994 RESEARCH NOTE SIMILARITIES AND DIFFERENCES OF THE 1911 REVOLUTIONS IN MONGOLIA AND CHINA Khereid L.Jamsran As a result of the 1911 revolutions against the Qing dynasty, Mongolia and China became independent and established their own governments. The revolutions in these two countries had some similarities as well as differences which 1 would like to discuss briefly. Similarities 1. Both the Mongols and the Chinese were under Manchu domination for more than two hundred years. The revolutions of 1911 were the result of the anti-Ding movement for national independence in both nations. This meant that these revolutions, both in Mongolia and China, had the single goal of overthrowing the Ding regime and of restoring national indepen- dence with their own governmental systems. 2. The Qing dynasty, from the mid-nineteenth century on, became a semi- colony of imperialist powers, so both revolutions were organized on the same souci-political basis. 3. The 1911 revolutions in Mongolia and China had the common aim of re- storing national independence through armed struggle. 4. The imperialist powers and progressive people supported the anti-Ding movement for national liberation as well as its fighters or revolutionaries in the Ding Empire. 5. After the overthrow of the Qing dynasty, the revolutionaries in Mongolia and China established their own forms of government. Differences 1. China was the center of the Qing dynasty. At that time China began to develop trade and industry which gave rise to a working class and national capitalists However, the feudal Qing regime was an obstacle in the way toward full prosperity of a new society, thus the new classes became politically active and organized illegal revolutionary organizations whose main task was the over- throw of the Qing regime and the establishment of a republican form of govern- ment.
    [Show full text]
  • Integrating Chinese and Western Pursuit of Excellence
    2021 4th International Workshop on Advances in Social Sciences (IWASS 2021) Integrating Chinese and Western Pursuit of Excellence Jing Zeng1, Huijun Shen2 1Arts College of Sichuan University, PhD student 2College of Forestry, Sichuan Agricultural University, Wenjiang 611130, China Keywords: Shanghai furniture, Chinese and western combination, “innovation and progress” Abstract: “ShangHai furniture” was born under the combined effect of the localization of Western-style furniture and the westernization of faithful furniture. It is the most representative fusion of China and the West. This article analyzes the contribution of “Shanghai style furniture” to the fusion of Chinese and Western furniture and its positive effect on China's modern furniture innovation based on the four stages of “Shanghai style furniture”: “germination”, “development”, “rejuvenation” and “innovation”. 1. Introduction ShangHai furniture is the product of ShangHai culture, which generally refers to the combination of Chinese and Western style furniture. It is a combination of the advantages of Western-style furniture. During the Republic of China, the beach was born and the place where all the nations came together, thus forming this vast and profound furniture. Shanghai style furniture is the product of the collision between Chinese and Western cultures, and it is partially integrated, so it has dual characteristics of Chinese and Western cultures. Although it is ordinary daily necessities, it is the bearer of China's historical culture. Since ancient times, the Chinese nation has firmly believed in the idea of “harmony and difference” and “tolerance is greater”. Among the furniture, no one can better interpret the harmony culture than Shanghai furniture. Therefore, since its birth, it has become the spokesperson for the fusion of Chinese and Western furniture.
    [Show full text]
  • An Intelligent System for Chinese Calligraphy
    An Intelligent System for Chinese Calligraphy Songhua Xu†,‡∗, Hao Jiang†,§, Francis C.M. Lau§ and Yunhe Pan†,¶ † CAD & CG State Key Lab of China, Zhejiang University, Hangzhou, Zhejiang, P.R. China, 310027 ‡ Department of Computer Science, Yale University, New Haven, Connecticut, USA, 06511 § Department of Computer Science, The University of Hong Kong, Hong Kong, P.R. China ¶ Chinese Academy of Engineering, Beijing, P.R. China, 100088 Abstract if computers can tell the beautiful from what is not, beauty contests could certainly be open to them as well. Such con- tests will probably not feature a catwalking computer, but Our work links Chinese calligraphy to computer science rather computer-generated images of beauty, or these im- through an integrated intelligence approach. We first extract ages against real, human-generated ones. This might be go- strokes of existent calligraphy using a semi-automatic, two- ing overboard, but to imbue the computer with the ability to phase mechanism: the first phase tries to do the best possi- ble extraction using a combination of algorithmic techniques; recognize beauty will likely win general support. Further- the second phase presents an intelligent user interface to al- more, the ultimate intelligent machine in people’s mind is low the user to provide input to the extraction process for one that can create results of beauty on its own, which cer- the difficult cases such as those in highly random, cursive, tainly represents a nice challenge for AI researchers. or distorted styles. Having derived a parametric representa- tion of calligraphy, we employ a supervised learning based We feel entailing the computer in understanding or even pro- method to explore the space of visually pleasing calligraphy.
    [Show full text]
  • Introduction
    Introduction In March 1949, when Mao Zedong set out for Beijing from Xibaipo, the remote village where he had lived for the previous ten months, he took along four printed texts. Included were the Shiji (Records of the Grand Historian, c. 100 BCE) and the Zizhi tongjian (Comprehensive Mirror for Aid in Government, c. 1050 CE), two works that had been studied for centuries by emperors, statesmen, and would-be conquerors. Along with these two historical works, Mao packed two modern Chinese dictionaries, Ciyuan (The Encyclopedic Dictionary, first published by the Commercial Press in 1915) and Cihai (Ocean of Words, issued by Zhonghua Books in 1936- 37).1 If the two former titles, part of the standard repertoire regularly re- printed by both traditional and modern Chinese publishers, are seen as key elements of China’s broadly based millennium-old print culture, then the presence of the two latter works symbolizes the singular intellectual and political importance of two modern industrialized publishing firms. Together with scores of other innovative Shanghai-based printing and publishing enterprises, these two corporations shaped and standardized modern Chi- nese language and thought, both Mao’s and others’, using Western-style printing and publishing operations of the sort commonly traced to Johann Gutenberg.2 As Mao, who had once organized a printing workers’ union, understood, modern printing and publishing were unimaginable without the complex of revolutionary technologies invented by Gutenberg in the fifteenth century. At its most basic level, the Gutenberg revolution involved the adaptation of mechanical processes to the standardization and duplication of texts using movable metal type and the printing press.
    [Show full text]
  • A Comparison Study of Korean and Javanese Society
    SS-62-OF National Unity, Social Class, and Family Values Seen from the Use of Surname: A Comparison Study of Korean and Javanese Society Ummul Hasanah Advisor: Prof Pavika Sriratanaban Master of Arts in Korean Studies Assoc. Professor, Faculty of Political Science Graduate School, Chulalongkorn University Chulalongkorn University Bangkok, Thailand Bangkok, Thailand [email protected] [email protected] Abstract- This paper aims to compare the use the surname some societies, they give long name for the offspring and for in Javanese society (in Indonesia) and Korean society. In other societies they give only short form of name. By seeing Korean society the naming system and the use of surname is fixed and there is not much changing from time to time, background of that person, where he/she come from, what besides there is a unique pattern that one third of Koreans his/her religion, from what kind of family he/she come from, have K im, Lee, and Park as their surnames. Meanwhile in and and many others. Names play a vital role in determining Javanese society the surname usage pattern is random, identities, cultural affiliations, and histories; they can help most Javanese do not have or use surname which can be fracture or unify groups of people. They represent an integral useful to identify from which family they come from and part of knowledge-power systems [1]. for those who have one the naming system is strongly Surname is an added name derived from occupation or influenced by Western, A rab, or other culture like other circumstance or the name borne in common by members Chinese.
    [Show full text]
  • Shanghai Before Nationalism Yexiaoqing
    East Asian History NUMBER 3 . JUNE 1992 THE CONTINUATION OF Papers on Fa r EasternHistory Institute of Advanced Studies Australian National University Editor Geremie Barme Assistant Editor Helen 1.0 Editorial Board John Clark Igor de Rachewiltz Mark Elvin (Convenor) Helen Hardacre John Fincher Colin Jeffcott W.J.F. Jenner 1.0 Hui-min Gavan McCormack David Marr Tessa Morris-Suzuki Michael Underdown Business Manager Marion Weeks Production Oahn Collins & Samson Rivers Design Maureen MacKenzie, Em Squared Typographic Design Printed by Goanna Print, Fyshwick, ACT This is the second issue of EastAsian History in the series previously entitled Papers on Far Eastern History. The journal is published twice a year. Contributions to The Editor, EastAsian History Division of Pacific and Asian History, Research School of Pacific Studies Australian National University, Canberra ACT 2600, Australia Phone +61-6-2493140 Fax +61-6-2571893 Subscription Enquiries Subscription Manager, East Asian History, at the above address Annual Subscription Rates Australia A$45 Overseas US$45 (for two issues) iii CONTENTS 1 Politics and Power in the Tokugawa Period Dani V. Botsman 33 Shanghai Before Nationalism YeXiaoqing 53 'The Luck of a Chinaman' : Images of the Chinese in Popular Australian Sayings Lachlan Strahan 77 The Interactionistic Epistemology ofChang Tung-sun Yap Key-chong 121 Deconstructing Japan' Amino Yoshthtko-translat ed by Gavan McCormack iv Cover calligraphy Yan Zhenqing ���Il/I, Tang calligrapher and statesman Cover illustration Kazai*" -a punishment
    [Show full text]
  • Syllabus (Updated March 28, 2018)
    HIEA 144: Mapping Rivers in Modern Chinese History Syllabus (Updated March 28, 2018) Instructor Name: Peter Braden Email: [email protected] Office Hours: Monday/Friday 11:30 a.m. – 12:30 p.m. Geisel Library Data/GIS lab (2F) Term: Spring 2018 Class Meeting Days/Hours/Location: Monday/Wednesday/Friday, 1:00-1:50 p.m., CSB004 Course Description Rivers and landscapes reflect the goals, anxieties, and capabilities of the humans who interact with them. Maps allow us to understand and analyze these relationships. To practice analyzing how rivers and Chinese society have shaped each other, this course begins with the present day and works backward toward the 19th century. This unusual perspective will help us to see the world as it is, and ask how it got this way. Beginning with today’s massive and controversial Three Gorges Dam on the Yangtze River, we will look at hydro-engineering projects in the People’s Republic of China since 1949. We will trace the roots of these schemes to the state-building efforts of the Nationalist government in the early 20th century, which arose from water control in China’s last dynasty, the Qing. In addition to scholarly readings and translated texts, we will use ArcGIS mapping software to ask and attempt to answer questions about the interactions between humans and hydrology. How has the relationship between the Chinese state and rivers changed during the last two centuries? Have rivers and people ever been able to coexist? How? Learning Outcomes By the end of our course, you will be able to: 1) Compare and appraise authors’ depictions of the relationships between rivers and China’s recent ecological, economic, social, and military history 2) Use evidence to make arguments about the relationships between societies and their environment 3) Evaluate textual and quantitative data: what can we do with it, and where should we be cautious? 4) Plan and execute a piece of original research to answer a question that interests you.
    [Show full text]