The contributors to this collection of seven essays (plus an editor's introduction and a comparative afterword) have framed debates about the construction of commercial culture in China. They all have agreed that during the early twentieth century China's commercial culture was centered in the private sector of Shanghai's economy and especially in the "concession" areas under Western or Japanese rule, but they have differed over the issue of whether foreign influence was decisive in the creation of Shanghai's commercial culture. Between 1900 and 1937, was Shanghai's commercial culture imported from the West or invented locally? And between 1937 and 1945, was the history of this commercial culture cut short by Japanese military invasions and occupations of the city or was it sustained throughout the war? The contributors have proposed various and even conflicting answers to these questions, and their interpretations bear upon wider debates in historical, cultural, and comparative studies.

The contributors to this collection of seven essays (plus an editor's introduction and a comparative afterword) have framed debates about the construction of commercial culture in China. They all have agreed that during the early twentieth century China's commercial culture was centered in the private sector of Shanghai's economy and especially in the "concession" areas under Western or Japanese rule, but they have differed over the issue of whether foreign influence was decisive in the creation of Shanghai's commercial culture. Between 1900 and 1937, was Shanghai's commercial culture imported from the West or invented locally? And between 1937 and 1945, was the history of this commercial culture cut short by Japanese military invasions and occupations of the city or was it sustained throughout the war? The contributors have proposed various and even conflicting answers to these questions, and their interpretations bear upon wider debates in historical, cultural, and comparative studies.

Chinese Literature: Lydia H. Liu

Uniquely covering literary, visual and performative expressions of culture, this volume aims to correlate the conjunctions of nation building, gender and representation in late 19th and early 20th century China and Japan. Focusing on gender formation, the chapters explore the changing constructs of masculinities and femininities in China and Japan from the early modern up to the 1930s. Chapters focus on the dynamism that links the remodeling of traditional arts and media to the political and cultural power relations between China, Japan, and the Western world. A true tribute to multidisciplinary studies.

What forces shaped the twentieth-century world? Capitalism and communism are usually seen as engaged in a fight-to-the-death during the Cold War. With the establishment of the People's Republic of China in 1949, the Chinese Communist Party aimed to end capitalism. Karl Gerth argues that despite the socialist rhetoric of class warfare and egalitarianism, Communist Party policies actually developed a variety of capitalism and expanded consumerism. This negated the goals of the Communist Revolution across the Mao era (1949–1976) down to the present. Through topics related to state attempts to manage what people began to desire - wristwatches and bicycles, films and fashion, leisure travel and Mao badges - Gerth challenges fundamental assumptions about capitalism, communism, and countries conventionally labeled as socialist. In so doing, his provocative history of China suggests how larger forces related to the desire for mass-produced consumer goods reshaped the twentieth-century world and remade people's lives.

The term home economics often conjures images of sterile classrooms where girls learn to cook dinner and swaddle dolls, far removed from the seats of power. Helen Schneider unsettles this assumption by revealing how Chinese women helped to build a nation, one family at a time. From the 1920s to the early 1950s, home economists transformed the most fundamental of political spaces � the home � by teaching women to nurture ideal families and manage projects of social reform. Although their discipline came undone after 1949, it created a legacy of gendered professionalism and reinforced the idea that leaders should shape domestic rituals of the people.

By the 1920s, much of the world was ‘dance mad,’ as dancers from Buenos Aires to Tokyo, from Manchester to Johannesburg and from Chelyabinsk to Auckland, engaged in the Charleston, the foxtrot and a whole host of other fashionable dances. Worlds of social dancing examines how these dance cultures spread around the globe at this time and how they were altered to suit local tastes. As it looks at dance as a ‘social world’, the book explores the social and personal relationships established in encounters on dance floors on all continents. It also acknowledges the impact of radio and (sound) film as well as the contribution of dance teachers, musicians and other entertainment professionals to the making of the new dance culture.

Contemporary China is seen as a place of widespread commodification and consumerism, while the preceeding Maoist Cultural Revolution is typically understood as a time when goods were scarce and the state criticized what little consumption was possible. Indeed, with the exception of the likeness and words of Mao Zedong, both the media and material culture of the Cultural Revolution are often characterized as a void out of which the postsocialist world of commodity consumption miraculously sprang fully formed. In Newborn Socialist Things, Laurence Coderre explores the material culture of the Cultural Revolution to show how it paved the way for commodification in contemporary China. Examining objects ranging from retail counters and porcelain statuettes to textbooks and vanity mirrors, she shows how the project of building socialism in China has always been intimately bound up with consumption. By focusing on these objects—or “newborn socialist things”—along with the Cultural Revolution’s media environment, discourses of materiality, and political economy, Coderre reconfigures understandings of the origins of present-day China.

Historical novels can be windows into other cultures and eras, but it's not always clear what's fact and what's fiction. Thousands have read Ba Jin's influential novel Family, but few realize how much he shaped his depiction of 1920s China to suit his story and his politics. In Fact in Fiction, Kristin Stapleton puts Ba Jin's bestseller into full historical context, both to illustrate how it successfully portrays human experiences during the 1920s and to reveal its historical distortions. Stapleton's attention to historical evidence and clear prose that directly addresses themes and characters from Family create a book that scholars, students, and general readers will enjoy. She focuses on Chengdu, China, Ba Jin's birthplace and the setting for Family, which was also a cultural and political center of western China. The city's richly preserved archives allow Stapleton to create an intimate portrait of a city that seemed far from the center of national politics of the day but clearly felt the forces of—and contributed to—the turbulent stream of Chinese history.

Through a study of the readership of the most popular commercial daily newspaper in China during the early twentieth century, Reading Shenbao investigates ideas of nationalism, consumerism and individuality, looking at the relationship between advertising, modern lifestyles and changing social attitudes in China as it underwent modernization.