Postmodern China

Horner offers a new interpretation of how China's changed view of its modern historical experience has also changed China's understanding of its long intellectual and cultural tradition. Spirited reevaluations of history, strategy, commerce, and literature are cooperating--and competing--to define the future.

Few countries have been so transformed in recent decades as China. With a dynamically growing economy and a rapidly changing social structure, China challenges the West to understand the nature of its modernization. Using postmodernism as both a global frame of periodization and a way to break free from the rigid ideology of westernization as modernity, this volume’s diverse group of contributors argues that the Chinese experience is crucial for understanding postmodernism. Collectively, these essays question the implications of specific phenomena, like literature, architecture, rock music, and film, in a postsocialist society. Some essays address China’s complicity in—as well as its resistance to—the culture of global capitalism. Others evaluate the impact of efforts to redefine national culture in terms of enhanced freedoms and expressions of the imagination in everyday life. Still others discuss the general relaxation of political society in post-Mao China, the emergence of the market and its consumer mass culture, and the fashion and discourse of nostalgia. The contributors make a clear case for both the historical uniqueness of Chinese postmodernism and the need to understand its specificity in order to fully grasp the condition of postmodernity worldwide. Although the focus is on mainland China, the volume also includes important observations on social and cultural realities in Hong Kong and Taiwan, whose postmodernity has so far been confined—in both Chinese and English-speaking worlds—to their economic and consumer activities instead of their political and cultural dynamism. First published as a special issue of boundary 2, Postmodernism and China includes seven new essays. By juxtaposing postmodernism with postsocialism and by analyzing China as a producer and not merely a consumer of the culture of the postmodern, it will contribute to critical discourses on globalism, modernity, and political economics, as well as to cultural and Asian studies. Contributors. Evans Chan, Arif Dirlik, Dai Jinhua, Liu Kang, Anthony D. King, Jeroen de Kloet, Abidin Kusno, Wendy Larson, Chaoyang Liao, Ping-hui Liao, Sebastian Hsien-hao Liao, Sheldon Hsiao-peng Lu, Wang Ning, Xiaobing Tang, Xiaoying Wang, Chen Xiaoming, Xiaobin Yang, Zhang Yiwu, Xudong Zhang

An insightful look into contemporary Chinese avant-garde fiction and the problem of Chinese postmodernity

By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the author dissects the intellectual, economic, and political contradictions of a turbulent era. This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history.

What can we do about China? This question, couched in pessimism, is often raised in the West but it is nothing new to the Chinese, who have long worried about themselves. In the last two decades since the “opening” of China, Chinese intellectuals have been carrying on in their own ancient tradition of “patriotic worrying.”As an intellectual mandate, “worrying about China” carries with it the moral obligation of identifying and solving perceived “Chinese problems”—social, political, cultural, historical, or economic—in order to achieve national perfection. In Worrying about China, Gloria Davies pursues this inquiry through a wide range of contemporary topics, including the changing fortunes of radicalism, the peculiarities of Chinese postmodernism, shifts within official discourse, attempts to revive Confucianism for present-day China, and the historically problematic engagement of Chinese intellectuals with Western ideas.Davies explores the way perfectionism permeates and ultimately propels Chinese intellectual talk to the point that the drive for perfection has created a moralism that condemns those who do not contribute to improving China. Inside the heart of the New China persists ancient moralistic attitudes that remain decidedly nonmodern. And inside the postmodernism of thousands of Chinese scholars and intellectuals dwells a decidedly anti-postmodern quest for absolute certainty.

Sun Tzu and other classical Chinese strategic thinkers wrote in an era of social, economic and military revolution, and hoped to identify enduring principles of war and statecraft. The twenty-first century is a time of similarly revolutionary change, and this makes their ideas of particular relevance for today’s strategic environment. Placing these theories in historical context, Dr Kane explores ancient Chinese reactions to such issues as advances in military technology and insurgency and terrorism, providing interesting comparisons between modern and ancient. The book explains the way prominent Chinese thinkers - such as Sun Tzu, Han Fei Tzu and Lao Tzu - treated critical strategic questions. It also compares their ideas to those of thinkers from other times and civilizations (e.g. Clausewitz) to illuminate particularly important points. In concluding, the book addresses the question of how ancient Chinese ideas might inform contemporary strategic debates. Ancient China on Postmodern War will be of much interest to students of strategic studies, Chinese philosophy and military history.

In Volume II of his study, Rising China and Its Postmodern Fate, Charles Horner continues his examination of how China’s continuously changing view of its modern historical experience is also changing its understanding of its long intellectual and cultural tradition. He reflects on China's current rise, not as an anomaly, but as part of a long tradition of dramatic transformations and he therefore looks at many different Chinas as they interact with various world systems and ever-changing trends. He sees China’s formation of its future Grand Strategy as a creative intellectual activity which draws on the strategic imagination that can be found in history, literature, art, architecture and urban planning.

The articles in this volume look at various cultural activities in "Postmodern China", providing new and rarely discussed insights into different spaces of "postmodernism in action". The volume highlights postmodernity as a condition of China's reality and everyday life after her entry into the global capitalist system. Three fields of research are addressed: first, the broad area of popular music, including performance, advertising and performance venues. Second, postmodernity and literature, ranging from novels to poetry, from "traditional" novels to anonymous internet postings, and, third, postmodern aspects related to film and the internet, focusing on transnational issues between Taiwan, Hong Kong and the PRC.

This book argues that the fundamental shift in Chinese Cinema away from Socialism and towards Post-Socialism can be located earlier than the emergence of the "Fifth Generation" in the mid-eighties when it is usually assumed to have occured. By close analysis of films from the 1949-1976 Maoist era in comparison with 1976-81 films representing the Cultural Revolution, it demonstrates that the latter already breaks away from Socialism.

As China debates its past, how will it define its future? In this work, Horner offers a different interpretation of how China's changed view of its modern historical experience has also changed China's understanding of its long intellectual and cultural tradition.