Chinese nationalism is powered by a narrative of China's century of shame and humiliation in the hands of imperialist powers and calls for the Chinese government to redeem the past humiliations and take back all "lost territories." The continuing surge of Chinese nationalism in the early 21st century therefore has fed a roiling sense of anxiety in many political capitals about whether a virulent nationalism has emerged to make China’s rise anything but peaceful. This book addresses this anxiety by examining the domestic sources and foreign policy implications of Chinese nationalism in the early 21st century. It is divided into three parts. Part I is an overview of the scholarly debate about if the rise of Chinese nationalism has driven China’s foreign policy in a more irrational and inflexible direction in the first one and half decades of the 21st century. Part II analyzes the construction of Chinese nationalism by a variety of domestic forces, including the communist state, the angry youth (fen qing), liberal intellectuals, and ethnic groups. Part III explores whether Chinese nationalism is affirmative, assertive, or aggressive through the case studies of China’s maritime territorial disputes with Japan in the East China Sea and with several Southeast Asian countries in the South China Sea, the border controversy over the ancient Koguryo with Korea, and the cross-Taiwan Strait relations. This book was based on articles published in the Journal of Contemporary China.

Chinese nationalism is powered by a narrative of China's century of shame and humiliation in the hands of imperialist powers and calls for the Chinese government to redeem the past humiliations and take back all "lost territories." The continuing surge of Chinese nationalism in the early 21st century therefore has fed a roiling sense of anxiety in many political capitals about whether a virulent nationalism has emerged to make China’s rise anything but peaceful. This book addresses this anxiety by examining the domestic sources and foreign policy implications of Chinese nationalism in the early 21st century. It is divided into three parts. Part I is an overview of the scholarly debate about if the rise of Chinese nationalism has driven China’s foreign policy in a more irrational and inflexible direction in the first one and half decades of the 21st century. Part II analyzes the construction of Chinese nationalism by a variety of domestic forces, including the communist state, the angry youth (fen qing), liberal intellectuals, and ethnic groups. Part III explores whether Chinese nationalism is affirmative, assertive, or aggressive through the case studies of China’s maritime territorial disputes with Japan in the East China Sea and with several Southeast Asian countries in the South China Sea, the border controversy over the ancient Koguryo with Korea, and the cross-Taiwan Strait relations. This book was based on articles published in the Journal of Contemporary China.

This is the first historically comprehensive, up-to-date analysis of the causes, content, and consequences of nationalism in China, an ancient empire that has struggled to construct a nation-state and find its place in the modern world. It shows how Chinese political elites have competed to promote different types of nationalism linked to their political values and interests and imposed them on the nation while trying to repress other types of nationalism. In particular, the book reveals how leaders of the PRC have adopted a pragmatic strategy to use nationalism while struggling to prevent it from turning into a menace rather than a prop.

Since the late 1980s the Chinese Party-state has increasingly embraced a more Westernized way of life enabling the country to propel itself into a position of economic and political international importance. This revolutionary upheaval has led cultural nationalists to pose such controversial questions as, what constitutes Chineseness? And, is a Party-state that portrays itself as the sole representative of the nation a legitimate one? This revealing work not only suggests that the CCP is beginning to compromise, therefore highlighting that the state is aware that it is losing its monopoloy, but also that the cultural nationalists further seek to reform the Party-state in accordance with the nation's will, beliefs, values and concept of its own identity.

The first full length treatment of ethnic and national identity in early Twentieth-century China, Leibold traces the political and cultural strategies employed by Han Chinese elites in the process of incorporating, both discursively and physically, the diverse inhabitants of the last Qing dynasty into a new, homogenous national community.

In Composing for the Revolution: Nie Er and China’s Sonic Nationalism, Joshua Howard explores the role the songwriter Nie Er played in the 1930s proletarian arts movement and the process by which he became a nationalist icon. Composed only months before his untimely death in 1935, Nie Er’s last song, the “March of the Volunteers,” captured the rising anti-Japanese sentiment and was selected as China’s national anthem with the establishment of the People’s Republic. Nie was quickly canonized after his death and later recast into the “People’s Musician” during the 1950s, effectively becoming a national monument. Howard engages two historical paradigms that have dominated the study of twentieth-century China: revolution and modernity. He argues that Nie Er, active in the leftist artistic community and critical of capitalism, availed himself of media technology, especially the emerging sound cinema, to create a modern, revolutionary, and nationalist music. This thesis stands as a powerful corrective to a growing literature on the construction of a Chinese modernity, which has privileged the mass consumer culture of Shanghai and consciously sought to displace the focus on China’s revolutionary experience. Composing for the Revolution also provides insight into understudied aspects of China’s nationalism—its sonic and musical dimensions. Howard’s analyses highlights Nie’s extensive writings on the political function of music, examination of the musical techniques and lyrics of compositions within the context of left-wing cinema, and also the transmission of his songs through film, social movements, and commemoration. Nie Er shared multiple and overlapping identities based on regionalism, nationalism, and left-wing internationalism. His march songs, inspired by Soviet “mass songs,” combined Western musical structure and aesthetic with elements of Chinese folk music. The songs’ ideological message promoted class nationalism, but his “March of the Volunteers” elevated his music to a universal status thereby transcending the nation. Traversing the life and legacy of Nie Er, Howard offers readers a profound insight into the meanings of nationalism and memory in contemporary China. Composing for the Revolution underscores the value of careful reading of sources and the author’s willingness to approach a subject from multiple perspectives.

Although Lu Xun was a leading intellectual and writer in twentieth century China, and his representative character Ah Q, hero of "The True Story of Ah Q," is considered an iconic repository of progressive Chinese thinking about the national character, few works examine the major discourses in his thought and writing relative to broader historical and intellectual currents outside the context of his politicization. Ah Q Archaeology, however, concretely situates Lu Xun's critique of national character vis-a-vis metanarratives of nationalism and modernity through a close examination of his works in their historical context. Paul B. Foster uses a discursive approach to tie together Lu Xun's major theme of national character critique and its fate in China's tumultuous twentieth century. This book is an important and unique contribution to modern Chinese intellectual history and modern Chinese literature.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

This book examines the often troubled relationship between Japan and China from a broad interdisciplinary perspective. Utilising the expertise of Chinese, Japanese and regional specialists working in a variety of fields, this original work approaches the contemporary sources of tensions between these two Asian giants from several levels of analysis. In particular the domestic-state interface in both countries and the important role of historical perceptions in the region are explored.

Chinese Asianism analyzes Chinese views of East Asian solidarity in light of Chinese nationalism and Sino-Japanese relations. Advocates of Asianism packaged Asia for their own agendas, often by translating and interpreting Japanese perspectives. As China now plays a central role in East Asian development, Asianism is once again of great importance.