Placing meanings of health and disease at the center of modern Chinese consciousness, Ruth Rogaski reveals how hygiene became a crucial element in the formulation of Chinese modernity in the nineteenth and twentieth centuries. Rogaski focuses on multiple manifestations across time of a single Chinese concept, weisheng—which has been rendered into English as "hygiene," "sanitary," "health," or "public health"—as it emerged in the complex treaty-port environment of Tianjin. Before the late nineteenth century, weisheng was associated with diverse regimens of diet, meditation, and self-medication. Hygienic Modernity reveals how meanings of weisheng, with the arrival of violent imperialism, shifted from Chinese cosmology to encompass such ideas as national sovereignty, laboratory knowledge, the cleanliness of bodies, and the fitness of races: categories in which the Chinese were often deemed lacking by foreign observers and Chinese elites alike.

Food safety is vital for consumer confidence, and the hygienic design of food processing facilities is central to the manufacture of safe products. Hygienic design of food factories provides an authoritative overview of hygiene control in the design, construction and renovation of food factories.The business case for a new or refurbished food factory, its equipment needs and the impacts on factory design and construction are considered in two introductory chapters. Part one then reviews the implications of hygiene and construction regulation in various countries on food factory design. Retailer requirements are also discussed. Part two describes site selection, factory layout and the associated issue of airflow. Parts three, four and five then address the hygienic design of essential parts of a food factory. These include walls, ceilings, floors, selected utility and process support systems, entry and exit points, storage areas and changing rooms. Lastly part six covers the management of building work and factory inspection when commissioning the plant.With its distinguished editors and international team of contributors, Hygienic design of food factories is an essential reference for managers of food factories, food plant engineers and all those with an academic research interest in the field. - An authoritative overview of hygiene control in the design, construction and renovation of food factories - Examines the implications of hygiene and construction regulation in various countries on food factory design - Describes site selection, factory layout and the associated issue of airflow

This study traces how the environmental effects of industrialization reverberated through the cinema of Germany’s Weimar Republic. In the early twentieth century, hygiene encompassed the myriad attempts to create healthy spaces for life and work amid the pollution, disease, accidents, and noise of industrial modernity. Examining classic films—including The Last Laugh, Faust, and Kuhle Wampe—as well as documentaries, cinema architecture, and studio practices, Paul Dobryden demonstrates how cinema envisioned and interrogated hygienic concerns about environmental disorder. Framing hygiene within the project of national reconstruction after World War I, The Hygienic Apparatus explores cinema’s material contexts alongside its representations of housework, urban space, traffic, pollution, disability, aging, and labor. Reformers worried about the health risks associated with moviegoing but later used film to popularize hygienic ideas, encouraging viewers to see the world and themselves in relation to public health objectives. Modernist architecture and design fashioned theaters into regenerative environments for fatigued spectators. Filmmakers like F. W. Murnau and Slatan Dudow, meanwhile, explored the aesthetic and political possibilities of dirt, contagion, intoxication, and disorder. Dobryden recovers a set of ecological and biopolitical concerns to show how the problem of environmental disorder fundamentally shaped cinema’s relationship to modernity. As accessible as it is persuasive, the book adds to a growing body of scholarship on biopolitics within German studies and reveals fresh ways of understanding the apparatus of Weimar cinema.