Podcasts about Lu Xun

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Transpatial Modernity: Chinese Cultural Encounters with Russia Via Japan (1880-1930) (Harvard Asia Center, 2024) offers the first detailed account of the complex cultural, literary and intellectual relationships between Russia, Japan and China in the modern era. In this wide-ranging interview, author Xiaolu Ma reflects on the remarkable process of Russian culture reaching China through the prism of Japan and Japanese. What happens when translation takes place through an intermediary language? How did Russian literature and ideas get reimagined in the two-step exchange to Japanese and Chinese? This interview begins with the Professor Ma's personal reflections on the experience of studying Russian literature in China, before turning to a broad overview of China's encounter with Russia via Japan. The interview then zooms in on a few of the examples explored in Transpatial Modernity, bringing to life a network of cultural exchange, including such celebrated names as Pushkin, Lu Xun, and the Russian nihilists. Transpatial Modernity is recommended for anyone interested in processes of cultural exchange and translation, as well as for those with interest in China, Japan and Russia during the extraordinary half-century between the 1880s and 1930s. Mark Baker is lecturer (assistant professor) in East Asian history at the University of Manchester, UK. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Es geht um Bücher im Allgemeinen, China im etwas Spezielleren und warum LU XUN eine große Chance für deutsche Autorinnen und Übersetzerinnen sein könnte. (Einen Reisetipp gibt es gratis dazu)

CHINAPOD Time Machine è uno spin-off di Chinapod che prevede interviste impossibili a scrittori o a protagonisti di opere celebri della letteratura cinese. In questo primo episodio abbiamo deciso di intervistare Lu Xun, il padre della letteratura moderna. Il celebre scrittore viene affiancato nell'intervista dal protagonista immaginario di Diario di un pazzo, racconto da lui pubblicato nel 1918, e da Hu Shi, teorico del Movimento di Nuova Cultura. Voci: Andrea, Ginevra, Matteo e Zeno. A cura di Ambra Macchieraldo.

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**REUPLOAD**In today's episode we're going to pick up where we left off, at the very beginning of the new Republic of China. We'll look at the rise of Yuan Shikai and the descent of China into a period of warlordism. We will explore the changing nature of China's politics and culture, right up until the next big event to hit the Chinese stage, the May 4th movement.Some famous people we will be discussing include Sun Yatsen, Cai Yuanpei, Hu Shi, Lu Xun, and some of the founders of the Chinese Communist Party, Li Dazhao, Chen Duxiu, and Mao Zedong.Support the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

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你好!

Ubicada en la costa del mar Amarillo, equidistante de Pekín y Shanghái, la ciudad de Qingdao sorprende por el aire alemán de algunas de sus construcciones más antiguas. Un rasgo exótico que se explica por la ocupación germana que sufrió la provincia de Shandong entre 1897 y 1914. Lugares como la catedral católica de San Miguel, el pintoresco barrio de Badaguan o la más que centenaria cervecera Tsingtao –la marca más famosa de China– son herencia del protectorado. En las últimas décadas Qingdao ha crecido desaforadamente, los rascacielos brotan en varios distritos y su puerto se ha convertido en el sexto más importante del gigante asiático. El turismo de playa y naturaleza, muy orientado al mercado interior, tiene cada vez más fuerza. Nuestro paseo sonoro comienza en el icónico muelle Zhanqiao en compañía de la profesora Cristina Liu. También conversamos con otras dos docentes naturales de Qingdao: Xiaojie Wu y Lily Gao. El retrato se completa con las visiones de dos españoles que acumulan muchos años de residencia en China: Julio Ceballos, experto en internacionalización de empresas y autor del libro 'Observar el arroz crecer', y el empresario Ramón Sabater. En esta ruta no faltan paradas en el parque Lu Xun, la calle peatonal Taidong, el museo de la cerveza, el centro olímpico de vela o el sagrado monte Laoshan.Escuchar audio

更多卡卡老师分享公众号：卡卡课堂 卡卡老师微信：kakayingyu001送你一份卡卡老师学习大礼包，帮助你在英文学习路上少走弯路 在英语学习中，介词的运用至关重要。而 “by” 这个常见介词，用法多样且容易混淆。今天卡卡老师分享“介词 by 的五种用法”，快点学起来吧！1. 表示 “通过；凭借（某种方式、手段）”I learn English by reading aloud.我通过大声朗读来学习英语。2. 表示 “在…… 旁边；靠近”The girl is standing by the window.女孩正站在窗户旁边。3. 表示 “被；由”The book was written by Lu Xun.这本书是由鲁迅写的。4. 表示 “不迟于；在…… 之前”You should come back by six o'clock.你应该在六点之前回来。5. 表示 “按照；根据”By my watch, it's five o'clock.根据我的表，现在是五点钟。

BH Sales Kennel Kelp Holistic Healing Hour! Today, on our journey through Mandarin literature and culture, we delve into Lu Xun's impactful novel, "The True Story of Ah Q." Satire with a Bite: Unmasking Social Ills Ah Q's story is a tragicomedy, a blend of humor and sadness. Lu Xun uses satire to: Expose the Absurdity: He exaggerates societal inequalities, highlighting the power imbalances between the wealthy and the poor. Spark Critical Thinking: By laughing at the absurdity, readers are hopefully encouraged to question the status quo and societal norms. Make a Bittersweet Point: The humor is tinged with sadness, reminding us of Ah Q's struggles and the harsh realities of his world. Victim or Complicit? A Complex Character Ah Q's situation raises a fascinating question: Is he solely a victim of circumstance, or does he contribute to his own misfortune? Victim of Oppression: Ah Q undeniably faces poverty, discrimination, and a corrupt system stacked against him. Self-Deception's Trap: However, his tendency to create "spiritual victories" through self-delusion prevents him from taking concrete steps to improve his situation. A Lasting Legacy: Lu Xun's Impact "The True Story of Ah Q" continues to resonate for these reasons: Timeless Social Commentary: The themes of poverty, inequality, and self-deception remain relevant across cultures and eras. Birth of Modern Chinese Literature: Lu Xun's innovative style paved the way for modern Chinese literature, breaking away from traditional narratives. Spark for Change: The novel's critical voice inspired social and political discussions in early 20th-century China. Probing Questions for Our Listeners: Do you find humor effective in delivering serious messages? Why or why not? Can someone be both a victim and complicit in their own situation? Explain your view in the context of Ah Q's story. Share your thoughts! Leave us a voicemail message at The BH Sales Kennel Kelp Holistic Healing Hour Voicemail Message Board. We can't wait to hear from you! #LuXun, #AhQ, #ChineseLiterature, #Satire, #SocialCommentary, #VictimOrComplicit, #BHSalesKennelKelpHolisticHealingHour, #MandarinLearning, Laughter and Tears: Dissecting Lu Xun's "The True Story of Ah Q" Beyond the Story: The Lasting Impact of "The True Story of Ah Q" --- Send in a voice message: https://podcasters.spotify.com/pod/show/bhsales/message

Last time we spoke about the New Culture Movement. China had seen humiliation after humiliation and her population was fed up. The leaking of secret dealings by foreign powers, Japan and members of the Chinese government alongside a weak stance at the Paris Peace Conference broke the camels back. The New Culture Movement that was brewing under these circumstances saw the Chinese public begin to question their traditions, confucianism and this feeling of always looking into the past, rather than the future. Things simply could not keep going on the way that they were. Numerous intellectuals began demanding major reforms to really modernize China. From vernacular writing systems, to the emancipation of women and egalitarian rights, the Chinese people were angry and they were soon going to demonstrate their anger towards their government. It would all start with youthful students who would change China forever.    #93 The May Fourth Movement of 1919   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. The Xinhai Revolution of 1911 had given rise to the spirit of Chinese nationalism, demanding resistance to foreign encroachment and the elimination of domestic autocracy. While the Manchu's were overthrown, Yuan Shikai was quick to seize the movement hostage. He silenced opposition when the Beiyang Republic was formed. Then WW1 came crashing in like a wrecking ball upon China. The Empire of Japan defeated the Germans and now occupied the Shandong Peninsula. Yuan Shikai protested this of course, but from the publics point of view not too strongly. Taking full advantage of the international situation the Japanese then imposed the twenty-one demands upon China. This was leaked to the world, enraging the Chinese populace. Though Yuan Shikai did negotiate them down into the Thirteen Demands, it was yet again another humiliation and a sign of how weak the Chinese government was. When this occurred Chinese intellectuals, students and workers were beginning to form groups and argue about what should be done. There was a sense of national survival at stake.  In response to the Twenty-One Demands situation a boycott of Japanese goods was organized in Shanghai, and this rapidly began to spread to other cities. Yuan Shikai ordered the boycotts to seize as they spread to Yangtze port cities. Regardless the people of China still had high hopes by joining the Entente during the war, this would see China reverse her misfortunes and regain things like the Shandong Peninsula. When WW1 ended on November 11 of 1918, there was such widespread hope the national disgrace would come to an end. Chinese intellectual leaders, and leading businessmen believed the defeat of Germany had finally brought an end to the disgusting practice of secret diplomacy, foreign encroachment on their nation, militarism and the dictatorship that was pretending to be a republic. It was assumed the Shandong Peninsula lease that originally was given to the Germans, currently held by the Japanese illegally, would simply be handed back over to China. China had done a lot for the Entente war effort, she had provided hundreds of thousands of laborers at critical moments of the war, many believed, and I would say rightfully so, China earned certain demands. Well those hopes were torn to shreds at the Paris Peace Conference. News of the conference reached China, particularly that of Japan being awarded the Shandong Peninsula. The Chinese public found out about the secret Sino-Japanese Treaty deal that Duan Qirui had signed and that of Britain's secret double promising deal to Japan to award her the Shandong Peninsula. There were also the secret Nishihara loans that had first been signed by Yuan Shikai and were then inherited by Duan Qirui. Because of all of this on April 30th, 1919 China lost her entire case at the conference, Japan was awarded the Shandong Peninsula and on top of that, there was zero mention of when the lease would return to China. All of these developments had been followed closely by Chinese intellectuals, political leaders and businessmen who were genuinely concerned about their nation's survival. When the Chinese public found out, the first instinct was to demand those responsible for the terrible outcomes be brought to justice. Because of all the secret dealing and other exchanges between leading Beiyang officials in Beijing and Japan, they were the first culprits cited for the failure of China to regain her lost territories and there was a large suspicion there were Chinese individuals basically selling out their country to Japan. It had now become the general feeling of the people, foreign powers had hurt China, but also traitors within her government. Intellectual leaders and students who had been exposed to foreign ideologies were extremely disappointed.  By the turn of the century, countless Chinese students had gone abroad studying in Japan, the United States and Europe. They encountered new ideas, and they reflected upon them, before proposing how such ideas could be used to solve China's problems. In the last episode I spoke a lot about the intellectuals who brought these ideas to China. Hu Shih studied in the United States, Chen Duxiu studied in Japan, both men would become leaders of what will become known as the May Fourth Movement and other events later on. Both men would go very different paths, but at this point in time they both understood the dangers facing their nation and wanted to save it. It was within this time period the New Culture Movement sprang up. The leaders of the movement believed China's traditional confucian based culture was holding her back from actually modernizing into a modern state. Many of them advocated for western ideas to modernize China. Chen Duxiu returned from Japan in 1915 where he had established the New Youth magazine, basically creating the vehicle for intellectuals to bring new ideas to the Chinese public. He was soon joined by Li Dazhao who also returned from Japan in 1916.  When these intellectuals returned to China, they found her in a highly repressive state. Under Yuan Shikai, there were severe laws governing the press and these laws would survive him until the early 1920s. Yuan Shikai's dictatorship charade of a republic became even worse when he proclaimed himself Emperor. 83 days of that disaster simply proved to the people of China, the same old tyrants that they had apparently overthrown in 1911 were still large and in charge. Laws restricted speech, association and the press, forcing publishers like the New Youth to constantly reiterate they were not creating political criticisms, just simply talking to the youth of the nation. Both Hu Shih and Chen Duxiu knew the most egregious problems facing China was her inability to toss the yoke of 2000 years of Confucianism. Both men believed it was necessary to destroy some of the old traditions to awaken their countrymen, particularly the Chinese youth so they could build a new modern state. Chen Duxiu was perhaps more inclined to want to destroy the confucian ideological bases that held up the monarchy. In 1917 his New Youth began to carry out a program calling for dramatic reforms. At first the New Youth evaluated the pro's and con's of vernacular writing over classical; of western science vs chinese traditional beliefs; the virtues of confucianism and so forth. The New Culture leaders began calling for a rejection of the old traditional values and adoptions of western ideals, something they colloquially called “Sai xiansheng /Mr. Science” and “De Xiansheng / Mr. Democracy” who would replace “Mr. Confucius”. Doing such things they argued would strengthen the new Chinese state. Lu Xun wrote famous essays like the Diary of a Madman and the True Story of Ah Q criticizing classical Chinese writing and confucianism. Lu Xun would soon be regarded as one of modern China's first great writers. The effectiveness of his stories drew from a sort of anger towards Confucianism. For example with the Diary of a Madman, the narrator slowly goes insane, convinced the Chinese people around him are all cannibals. Here is a sort of translated exurb ‘It has only just dawned on me, that all these years I have been living in a place where for four thousand years human flesh has been eaten. They eat human beings, so they may eat me. I look up the history of cannibalism in a book of Chinese history, but all he finds in the book are the two phrases Confucian virtue and morality and eat people. Finally convinced that I may have eaten several pieces of my sister's flesh unwittingly….Perhaps there are still children who haven't eaten men? Save the Children”. Within Chinese history, cannibalism has been a powerful image of when a society has lost all of its values and morality and for Lu Xun he was basically assaulting the entire basis of the Beiyang government and their society using this metaphor. Others like Li Dazhao by 1918 began expressing support of the October Revolution in Russia and in september of 1918, a young Mao Zedong became his assistant at the Peking University Library where they organized the Marxist Research Society.  The Twenty-One Demands had ushered anti-japanese campaigns and the New Cultural movement. Western ideas of science, democracy, criticisms of traditional chinese customs, literature, history, philosophy, religion, social and political issues were all argued over. Political and social ideas like liberalism, pragmatism, utilitarianism, anarchism, socialism, communism all the “isms” were being measured against China's traditional culture like one of them held the answer to solve her problems. The youthful students were caught up in all of this, and they decided to hold mass demonstrations on May 7th of 1919, the fourth anniversary of Japan's ultimatum for the Twenty-One Demands. Events however forced these students to initiate their plans 3 days earlier on the morning of May 4th. Student leaders met at Peking college of Law and Political Science. They came from 13 colleges and universities, including the University of Peking, the heart of them all. During their meetings they came up with 5 resolutions to press upon their government: Number 1) To oppose the granting of Shandong to the Japanese under former German concessions. Number 2) To draw and increase awareness of China's precarious position to the masses in China. Number 3) To recommend a large-scale gathering in Beijing. Number 4) To promote the creation of a Beijing student union. And Number 5) To hold a demonstration that afternoon in protest to the terms of the Treaty of Versailles. Of the five resolutions, two had special importance: to awaken the Chinese people to the facts of foreign oppression and domestic treachery, and to create a permanent organization of Peking students. At 1:30pm on the 4th, over 3000 students gathered at Tiananmen square. They represented 13 colleges and universities in Beijing. The Beiyang Government tried to prevent their mass meeting by dispatching the Ministry of Education to Peking University at 11am, but he was unsuccessful at stopping the students. By 2pm, the students began to march while distributing leaflets along their way. They carried large placards with slogans written in French, English and Chinese. Slogans read “struggle for the sovereignty externally, get rid of the national traitors at home” “do away with the twenty-one demands” “don't sign the treaty of versailles”. They also demanded the Japanese collaborationists Cao Rulin, Lu Zongyu and Zhang Zongxiang be brought to justice. They made their way to Beijing foreign Legation quarter, but they were blocked at the gates and refused entry. They waited over 2 hours, demanding entry into the quarter until they were told it was never going to happen. The students then headed north towards the residence of Cao Rulin, the Minister of Finance at the time. They considered him the worst of the treacherous bunch. They rushed into his residence hunting him down and the police intervened. Students were beaten up and 32 were arrested. After the arrests, martial law was enacted around the area surrounding the Legation Quarter.  Immediately after everything had gone down, the students began to organize the intellectual leaders to support their cause. They tried to win over the public through more demonstrations, mass meetings,  public lectures and so forth. The established contacts amongst the masses of less educated, illiterate peoples to try and secure support from the business sector to boycott Japanese products. Their ideals began to spread throughout all of China. Chow Tse-tung a harvard graduate had this to say about the feeling of the time. country. "The Movement's aims, soon won sympathy from the new merchants, industrialists, and urban workers, and the Peking Government was forced to compromise in its foreign and domestic policies. This victory of the new coalition facilitated the expansion of the cultural and intellectual reforms it advocated”. Within two months of the incident, a series of student demonstrations and strikes managed to form an alliance between students, businessmen, industrialists and workers. Though on the surface it looked like a purely student movement, the May Fourth Movement was the logical result of the efforts of the intellectual leaders of the New Culture Movement. It was the professors, teachers and writers who had inspired the youthful students to form the mass movement. They were supported wholeheartedly by the intellectual leaders and this formed a de facto alliance between reformists and revolutionaries. The New Culture Movement swelled from this alliance, drawing in people who would have been indifferent to it. Everyone began questioning the old traditional culture, it was like an ideological virus.  Political organizations, such as the Communist Party of China developed during this time. Among the masses caught up in the movement was a young Mao Zedong who became an active member of the New People's Study Society. At the time he was the editor of the Student Union Publication of Hunan province which promoted students cause and was critical of the Beiyang government. The weekly publication was quickly suppressed by the military governor of Hunan. This only further intensified Mao Zedong's anti government activities and drove him further and further towards Marxism. Later in 1939, as the CCP senior leader Mao Zedong would claim the May Fourth Movement was a stage leading toward the fulfillment of the Chinese Communist Revolution “The May Fourth Movement twenty years ago marked a new stage in China's bourgeois-democratic revolution against imperialism and feudalism. The cultural reform movement which grew out of the May Fourth Movement was only one of the manifestations of this revolution. With the growth and development of new social forces in that period, a powerful camp made its appearance in the bourgeois-democratic revolution, a camp consisting of the working class, the student masses and the new national bourgeoisie. Around the time of the May Fourth Movement, hundreds of thousands of students courageously took their place in the van. In these respects the May Fourth Movement went a step beyond the Revolution of 1911”.Other prominent CCP figures would be born from the movement. In fall of 1919 at Wuchang, Lin Biao became an organizer for the Social Welfare Society and the Social Benefit Book Store. In September of 1919 a young Zhou Enlai returned from studying in France and joined the Awakening Society in Tientsin. Yet while I just emphasized the communist leaders that emerged, the May Fourth Movement was dominated primarily by western ideas. Liberalism, anarchism, utopian socialism and marxism gradually saw a wedge drive between them forming two competing factions. Mr. Chow Tse-Tung said of this ''The Movement, gradually became involved in politics, and the united front of new intellectuals collapsed. The liberals (reformists) lost their zeal or turned away from political activity, whereas the left wing (the revolutionary intellectuals) of the Movement took the expedient political step of allying itself with the nationalists to overthrow the warlord Peking regime . " Prior to the May Fourth Movement, marxism was not really picking up much speed amongst the intellectuals in China. Li Dazhao just a few months prior to the May fourth movement was the only real Bolshevik in China. Excluding his students, Li Dazhao's views of the Bolshevik revolution that had recently occurred in Russia was not really taken seriously as a tool to reconstruct China, let alone the world. In January of 1919, Li Dazhao called upon the people of Asia “to rise against the European imperialist robbers, only by overthrowing the capitalist classes of the whole world”. With this he argued the oppressed peoples would do away with the injustice of the international order that allowed the great powers to continue humiliating China. In February of 1919, while everyone was anticipating the outcome of the Paris Peace Conference, Li Dazhao called it “the european division of the spoils conference”. Many intellectuals in China still pinned their hopes on Versailles, when the outcome came many were driven to radicalism. Many were driven to socialism and there are many reasons why it was so attractive. Many of the intellectuals saw within socialism many of the same ideals of western democracy. However many of them rejected the existing political and social order of the west…and why wouldn't they, the west was exploiting their nation and others. In many ways they viewed socialism as a sort of marriage between their nationalistic ideals and anti-imperialism. China had suffered greatly due to imperialism from the west and Japan. When they heard about the Bolshevik revolution against their tyrannical Tsarist government it was seen very much as a anti-imperialist movement. In so many ways, the May Fourth Movement of 1919 was akin to a Chinese Renaissance, certainly with its focus upon science and democracy.  Following the May Fourth Movement came the creation of the CCP in 1921, but also the revitalization of the Kuomintang. Now this is also right smack dab in the middle of the Warlord Era. I am choosing to keep these things separated because the podcasts would just go all over the place, but beginning roughly in 1919 major Warlords would commence in this episode Game of Thrones scenario. Wars, propaganda, diplomacy, alliances, its a crazy history with numerous big figures and it will rage all the way until the Japanese invasion of 1931. We will be stuck in this period for…well I have no idea haha. On my personal channel I tried to tackle the warlord Era, it ended up being 7 episodes long, with one long format to encompass it around an hour and 47 minutes long. Even with that, I barely scratched the Warlord Era, I only tackled the most well known battles and figures, I missed countless ones, thus I am hoping in this podcast series to do a much more full job. I will admit its difficult to get good sources as a non Mandarin speaker, but during my experience researching for my youtube channel I luckily came across a lot. Not to toot my own horn, but other than literally CCTV run channels, I think I am the only person on Youtube who even tried to cover the warlord period effectively. I will give credit to a fellow Quebecois Jesse Alexander from the Great War Channel, they did do a large summarization of the Warlord Era. Anyways getting off track, I now want to finish this episode up just explaining the greater influence the May Fourth Movement would have. The emergence of the CCP on the political stage as a form of anti-imperialism was foreshadowed by Li Dazhao. Li Dazhao had been one of the main advocates emphasizing anti-imperialism and political action. His students were pressed to go out and influence the common people of China, from the urban cities to the rural villages. After the May Fourth Movement, Li Dazhao became a major leader and many flocked to him. Li Dazhao's library at the Peking University where Mao Zedong was working as an assistant became the regular meeting place for student leaders. There they came under his influence. The Marxist Research Society organized by Li Dazhao sent its members across China to spread their ideals. I am no fan at all of communism, but like it or not, this is a hell of a grassroots movement that obviously would become successful in the end. Its important to learn how such mechanism came to be, how they operated and so forth. Li Dazhao did not have the firmest understanding of Marxism when he began championing it to China, but he ignited the flame that would turn China ultimately in the Peoples Republic of China. He offered Marxism as a sort of revolutionary ideology that would save China. He did this in a very anti-imperialistic environment, thus it was highly palatable. Chen Duxiu was also drawn to Marxism, a lot so because of the Shandong Problem. He was disgusted with what he saw as treachery on the part of the imperialistic nations and leaders within the Beiyang government. Now Chen Duxiu took up a stance of not getting political involved, that was until the May Fourth Movement. After this he quite literally jumped into the heck of it.  Chen Duxiu was so politically active, he was arrested on June 11th of 1919 after being caught distributing leaflets across Beijing. He spent 83 days in prison, once he got out he resigned from his position as a professor at Peking University and moved to Shanghai which was becoming a Marxist hub. Numerous Chinese intellectuals became radicalized and this gradually broke the unity of the movement apart. Hu Shih for example had studied in the United States and was deeply influenced by John Dewey and thus came to represent the reformist intellectual side. Hu Shih would go on to write countless articles arguing against the adoption of “isms” and doctrines and instead to suggest it be better to study the practical social problems. Doctrines that advocated fundamental solutions to social problems, were not entirely irrelevant, but probably hindrances to their solutions according to Hu Shih. Li Dazhao once wrote a letter to Hu Shih arguing that specific social problems could not be solved without the participation of the masses, thus there was a need to instill a consciousness of society's problems as a whole, so they could relate this to their own individual problems. Li Dazhao asserted “intellectuals need to go out and work in the practical movement, which to him meant the propagation of socialist theory and its advocacy as a tool to eliminate the non-laboring bureaucratic robbers." Li Dazhao furthered this by arguing to his followers like Mao Zedong the necessity for those studying revolutionary ideals to really study the conditions of the world, so they could adapt the theory to said conditions.  So there was kind of a battle between Hu Shih and Li Dazhao. Hu Shih advocated for solving China's problems gradually through social reforms, while Li Dazhao wanted revolution. Now again Hu Shih was deeply influenced at the time by John Dewey, and as American Sinologist Maurice Meisner said about the debates between Hu Shih and Li Dazhao  “"Hu Shih had formulated his ideas in terms of the American philosophical and sociological tradition . . . The philosophy and sociology of John Dewey did not need to be concerned with the structure of society as a whole because in the American social context it could be optimistically assumed that the whole world would take care of itself. Dewey's program was essentially conservative, assuming that reform would take place within the framework of existing institutions; but it was a product of a society that could afford conservatism, a society that could solve particular social problems because there already existed a viable social structure and a general consensus on the direction of social progress . . .As applied to China, Dewey's program was neither conservative nor radical but largely irrelevant. After the Revolution of 1911 China was confronted with a crisis of social, cultural and political disintegration of massive proportions. The extreme poverty and widespread illite:racy of the masses of the Chinese people and the lack of even the rudiments of responsible political authority negated the possibility of the general social consensus that Dewey's program presupposed. Because of the overwhelming social crisis within and the threat of foreign aggression from without, the very existence of the Chinese nation was in doubt at the time . . . To advocate the study of particular social problems and to call for social reform (piecemeal) was to assume that there existed or would soon arise a viable social and political structure within which problems could be and reforms implemented. This assumption was unwarranted either by the existing situation or by any realistic hopes for the immediate future. In view of the total crisis of Chinese society, Dewey's program was doomed to failure."  The debate between the two revealed a crucial issue, the necessity of changing words into action. You can criticize Marxism on multiple grounds and rightfully so, but I don't think anyone would disagree its not effective action wise. By its very nature Marxism enforces real action to take place. By the mid 1920's Li Dazhao and Chen Duxiu easily looked like they would assume leadership positions in the CCP, and of course in the background was Li Dazhao's assistant Mao Zedong. Mao Zedong was greatly influenced by the May Fourth Movement and he saw it as a great dividing line between the earlier stage of a bourgeois-democratic revolution in China and for him a later stage, the awakening of the working class in alliance with progressive bourgeoisie. As said by Mao Zedong in his essay on New Democracy:   " China's cultural or ideological front, the period preceding the May fourth Movement and the period following it form two distinct historical periods. Before the Movement, the struggle on China's cultural front was a struggle between the new culture of the bourgeoisie and the old culture of the feudal class ... the ideology of the new learning played the revolutionary role of fighting the Chinese feudal ideology and was in the service of the bourgeois democratic revolution of the old period ... But since the May fourth Movement, things have gone differently. Since then a brand new cultural force of fresh strength has appeared in China, namely, the ideas of Communist culture guided by the Chinese Communists: · the Communist world outlook and the Communist theory of social revolution. The May fourth Movement occurred in 1919, and in 1921 the Chinese Communist Party was founded and China's labor movement actually began . . . Before the May fourth Movement, the new culture of China was a culture of the old-democratic character and a part of the capitalist cultural revolution of the world bourgeoisie. Since the May fourth Movement, it has become a culture of new-democratic character and a part of the socialist cultural revolution of the world proletariat . . . What is called new democratic culture is the anti-imperialist and anti-feudal culture of the broad masses of the people . ·· . New democratic culture is, in a word, the and anti-feudal culture of the broad masses of the people under the leadership of the world proletariat”. Overall the May Fourth Movement had a profound effect on the development of modern China. It convinced many Chinese intellectuals, correctly or incorrectly, the only adequate response to imperialism was revolutionary action seen in form of Communism. Yet something stood in the way of turning China into a communist nation. Warlords. Then after the Warlords were defeated, Chiang Kai-Shek emerged as the leader of the fractured nation, forced to lead the fight for China's survival against the Empire of Japan. Yet the CCP put its head down, they worked, worked very hard and waited for the right moment. When it came, they struck, and they won.  I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The May fourth movement was a watershed moment for modern Chinese history. In many ways it was the great moment where two dividing forces emerged that would be embodied later in Chiang Kai-Shek's nationalists and Mao Zedong's CCP. The fight for the future of China had begun, though it remains in the background as the age of the Warlords has come. 

Last time we spoke about the end of WW1 and China's bitter experience at the Paris Peace conference. Yes it WW1 brought a lot of drama to China. Yuan Shikai and later prominent figures like Duan Qirui took the poor habit of making secret deals with the Japanese that would very much bite them in the ass later in Paris. The Chinese delegation came to Paris hoping to secure major demands, most notably to solve the ongoing Shandong Problem. Instead they quite literally found out there were secret deals between China and Japan that completely hindered their war aims. To add insult to injury the western powers, notably Britain had also made secret double dealings with Japan. In the end Japan got her way, China did not, it was so embarrassing the Chinese delegation did not bother signing the Treaty of Versailles. Things could not possible get any worse eh?   #92 The New Culture Movement   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. To say this is a big event in Modern Chinese history is certainly an understatement. I have to acknowledge over on my personal channel the Pacific War channel I made an episode on this topic. I had no idea what I was getting myself into, but I am very glad I tackled it. It was the first time a large portion of Chinese audience members came forward and thanked me for covering the subject. I was honestly a bit baffled, the episode picked up steam, I thought, hmmm why is this getting views, its a rather boring, non battle more political episode. Well case and point, this story is really the birth of modern China. If you go searching for books on this subject you will find so many of its impact on just about every facet of China today and even on other nations. Now there is two major subjects at play here, the May fourth movement and the New Cultural movement. I am going to do my best to try and cohesively tell this, but its a rather difficult one to be honest. For the sake of cohesion and to be blunt while writing this I just don't think I will manage to fit both subjects into one episode, I first am going to tackle what exactly the “New Cultural Movement” was and I am guessing I will have to leave the May Fourth Movement for next episode.  The New Cultural Movement is intertwined with the May Fourth Movement, or you could call it the progenitor. In essence it was a progressivist movement that sprang up in the 1910's and would continue through the 1920's criticizing traditional Chinese ideology and promoting a new culture. This new culture was influenced by new age science and modern ideals. It's during this period you find many of China's big scholars start speaking out and making names for themselves. Now we have been talking in length about numerous issues that hit China during the 1910's such as WW1, Yuan Shikai's craziness, secret deals getting leaked to the public, the Shandong Problem, the Treaty of Versailles and all of these summed up were just more and more humiliation for China. The people of China were fed up. The people of China wanted change. Now its hard to encompass all that was sought out, but there are 6 large themes of this New Cultural movement that I shall list.  The first change the public wanted was because of their outdated writing system, they wanted a more vernacular one. Second the confucian based tradition patriarchal family model was very outdated and it was a hindrance against individual freedom and women's rights. Third the people wanted China to be a real nation, one amongst the other nations of the world, not stuck in its Confucian model. Fourth the people wanted China to adopt a more scientific approach to things rather than the traditional confucian belief system. Fifth, the Chinese people wanted democracy human rights, all of the enlightened values other nations had. Lastly China had always been a nation who looked at the past rather than towards the future, this had to end.  Now before we hit each of these lets summarize a bit of this time period, the environment and feeling of the day. The Qing Dynasty had fallen during the Xinhai revolution seeing the rise of Yuan Shikai. Yuan Shikai stamped down on all opposition, this included intellectuals also, many were exiled. There of course was a lot of animosity to Yuan Shikai, he was after all the guy who for a lack of better words, stole the leadership from Dr Sun Yat-Sen and he crushed the second revolution. One of these intellectual exiles found himself in Tokyo, Zhang Shizhao, there he founded a political magazine called The Tiger. The Tiger ran for about a year in 1915 and would have a significant impact on other political journals in China. The Tiger was known for probing political questions of the day, its writers often grappled with how underlying cultural values and beliefs shape politics. It inspired others to write similar magazines, notably, Chen Duxiu Now also in 1915 as we know, the Twenty-One Demands were issued, Yuan Shikai was forced to sign the Thirteen demands and all of this got leaked to the public. In 1915, Chen Duxiu founded the magazine “Jinggao qingnian” “New Youth”and he would have future intellectuals as editors of it such as Li Dazhao, Hu Shih and Lu Xun. In its first issue titled Jinggao qingnian literally translate as “letter to Youth”, it encouraged young people to “be independent and not enslaved, be progressive and not conservative, be in the forefront and not lagging behind, be internationalist and not isolationist, be practical and not rhetorical, and be scientific and not superstitious.” Chen Duxiu advocated for science and democracy, these would become rallying cries often in the form of “Mr. Democracy and Mr. Science”. This would spring forth more literature like “Xinchao” “the Renaissance” founded by the Renaissance Society in 1918 whose members included Beijing students directly inspired by Chen Duxiu, Hu Shih and Li Dazhao. The Renaissance promoted western political and social ideology, encouraging the youth of China to embrace progressive politics. The New Youth was by far the most influential magazine. In 1917 Chen Duxiu and Zhang Shizhao moved to Beijing University where they became acquaintances and alongside others built up a community that would usher in the New Culture Movement. At this time the intellectual powerhouses were Peking University and Tsinghua University in Beijing and Shanghai which had a booming publishing industry. Many scholars who would contribute to the New Culture movement would be found at Peking University such as Cai Yuanpei, who served as president of the University in 1916. Cai Yuanpei was a colleague of our old friend Li Shizeng whom both founded the Diligent Work-Frugal Study movement, sending worker-students to France. It was Cai Yuanpei who recruited those like Chen Duxiu, Li Dazhao and Hu Shih. Chen Duxiu served as the dead of the School of Arts and Letters at the university; Li Dazhao became its librarian and Hu Shih helped translate and perform numerous lectures.  These men would lead the fight for “baihua wenxue” or the Vernacular Literature Movement. Yes there's a lot of movements in this episode. Now Baihua is a form of written Chinese based on the numerous varieties of Chinese spoken in the country vs, “classical Chinese”. This probably sounds a bit confusing, but think of it this way. Going all the way back to the Shang dynasty a process of creating Chinese characters was gradually standardized by the time of the Qin dynasty, so thats 1200 BC to 206 BC. Over the following dynasties the Chinese calligraphy is created, however what also occurs is the evolution of language. The Chinese language branched off into numerous dialects, thus all over China people are speaking different but related forms of Chinese, yet the way they write is using this “classical Chinese writing”. As you might imagine, by the time of the 20th century, the classical chinese writing is so vastly different from what people are speaking, by this time its Mandarin, Cantonese, Hokkien, and many many more. Classical Chinese had become extremely outdated.  Chinese intellectuals in the early 20th century were looking to reform the literary system. Two of the big proposals that came about were to simplify Chinese characters and create a Chinese writing system using the latin alphabet. Professor at Peking University, Qian Xuantong was a leading figure on the Latinization movement. Chen Dixiu on the topic of Chinese characters had said  “backward, difficult to recognize, and inconvenient to write”. He blamed them for China being stuck in conservatism and having lacked modernization. There was a movement to switch to pinyin to spell out Chinese characters, for those who don't know Pinyin is alphabetically written Chinese, aka the only way Craig is able to read most of his sources haha. The plan to formalize this never occurred, but there was a real fight for it. Many scholars began writing in Baihua, one of the most famous works was Lu Xun's “A Madman's Diary”. In essence it was a short story criticizing early 20th century Chinese society, trying to challenge its audience into conventional thinking vs traditional understanding. The story has Lu Xun's madman seeing family and village members around him performing cannibalism which he has attributed to some confucian classics. Basically he implies China's traditional culture was mentally cannibalistic. Building somewhat on this theme, Chen Duxiu wrote in the New Youth how Mr. Confucius needed to be replaced by Mr. Science and Mr. Democracy. Meanwhile Hu Shih argued “a dead language cannot produce a living literature”. He further argued a new written format would allow the Chinese people with less education to read texts, articles, books and so forth. It was classical Chinese that was holding the less educated back. Basically he was criticizing how scholars basically held a monopoly on information. Hu Shih was highly praised for his efforts, one man named Mao Zedong would have a lot to say about how grateful China should be to him. Mao Zedong of course was a assistant at Peking University's library at the time. Now alongside the battle to change the written language of China, there was a feminist movement as well. Women suffered greatly under the traditional system. Prior to the 20th century Women in China were considered essentially different from Men as you can imagine. Confucius argued that an ordered and morally correct society would refrain from the use of force. Violence and coercion were deviant and unwelcomed. Instead a correct person would aim to become “junzi” meaning gentleman or a person of integrity. For society to remain stable, it was crucial correct hierarchies were established. Servants obey masters, subjects obey rulers, children obey parents and women obey men.The association of Women with Yin and Men with Yang, two qualities considered important by Daoism, still had women occupying a lower position than men in the hierarchical order. The I Ching stated “Great Righteousness is shown in that man and woman occupy their correct places; the relative positions of Heaven and Earth”. Women of course were supposed to be submissive and obedient to men, normally forbidden to participate in politics, military and or communal aspects. The traditional Confucian led Chinese society simply valued men over women. To get into the most hardcore aspect of this, did you know China had a near 2000 year history of female infanticide? It was written by many Christian missionaries arriving in the late 16th century to China that they witnessed newborns being thrown into rivers or in the rubbish. The primary cause of this practice was poverty, shortages of food. Confucianism influenced this practice quite a bit. Male children were to work, provide and care for their elders, while females were to be married off as quickly as possible. During the 19th century “ni nu” to drown girls was widespread, because of the mass famines. Exposure to the elements, strangulation, tossing a child into a basket and casting it off were normalized. Buddhists would build these things called “baby towers” for people to dump children at. Later on in 1930, Rou Shi a famous member of the May Fourth movement would write a short story titled “A Slave-Mother” portraying how extreme poverty in rural communities led to female infanticide. Hell turn the clock even more to the 1970's and we got the One-Child Policy where females were often aborted or abandoned. Alongside this infant girls at the age of 5 or 6 would often have the feet bound, a centuries old practice that would increase their marriageability. This hobbled them for life. When women married, their families pretty much abandoned them. Often this marriages were arranged and the new wife could expect to be at the autocratic mercy of her mother in law henceforth. If her husband died there was great social pressure for her to remain unmarried and chaste for the rest of her life. It goes without saying, suicide rates in China were the highest among young women. During the late 19th century the ideal woman was “xiangqi liangmu /a good wife and loving mother”. During the early 20th century the new ideal was becoming “modeng funu / modern woman”. Women wanted to pursue education and careers outside the home. Whether it was by choice or a financial necessity, Chinese women increasingly left the domestic sphere. They entered the workforce in all available forms, typically but not limited to factories, offices, and the entertainment industry. Yet the traditional social norms limited their opportunities in work, education and politics. Women according to the traditional system were not supposed to make speeches in the streets. But those like Liang Qichao began calling for the liberation of women, to let them be educated, allow them to participate in Chinese society.  The confucian social order held the hierarchy of husband over wife, but within the New Culture Movement that criticized Confucianism and traditions, now there was a deep want for women to be seen as human beings, as independent people who should become actors in the public sphere. When those like Chen Duxiu began writing and lecturing about tossing aside the old and looking at the new, this also included women. Thus the New Culture Movement had a large aspect of gender equality and female emancipation. There was also the aspect of dress. By the 1920's women would abandon traditional garments of embroidered hip or knee length jackets and trousers. They began wearing short jackets, skirts and the qipao, a one piece dress. Unlike the traditional women's clothing that hung loosely around the body, the Qipoa was form fitting. A women's suffrage movement began, though it would take some time. So you might be seeing the theme here, the old, traditional, confucian past, was needing a new replacement. The written language needed to be updated, women needed to be more equal to men. How about the nation of China itself? The New Culture leaders wanted to see China as a nation amongst nations, not one culturally unique. They began doing what many nations did around the turn of the century, they looked outwards. They looked at foreign doctrines, particularly those that emphasized cultural criticism and were nation building. Many of these intellectuals were the lucky few who went abroad, received foreign educations. They took western and Japanese ideas, seeing what could be used to create a new model for China and her vast population. Many were enthralled by President Woodrow Wilson's 14 points and ideals of self-determination. The Xinhai revolution had ushered in a Chinese nationalist spirit which demanded resistance to foreign impositions and the elimination of domestic autocracy. They had overthrown the Manchu, now they wanted to overthrow the global powers who had been encroaching upon their nation since the mid 19th century. So many of these intellectuals had hoped with the end of the war would come an end to their national disgrace.  The intellectuals argued China's failure to modernize was caused by both external and internal factors. Externally, foreign powers had been encroaching upon China for decades. Foreign powers had gone to war and defeated China, forcing her to sign unequal treaties. Internally China's economy, social system and cultural values were holding her back. This brought forward the need for a “new culture” to kick start the development of a new state. They argued China needed educational and social progress to remedy the states diplomatic weakness and endemic poverty. China's economy, social fabric and international standing needed to be improved, and the answer was programs of public education. Yet to do so, the less educated needed to be able to read and participate, ie: vernacular writing.  Liang Qichao was a huge influence on ideas to build China as a modern state. He created the “Xinmin Congbao / new citizen”, a biweekly journal first publishing in Yokohama Japan back in 1902. The journal covered numerous topics like politics, religion, law, economics, geography, current affairs and such. Basically Li Qichao was showing the Chinese public never before heard theories. Liang Qichao got Chinese people to think about the future of China. What did it even mean to identify as Chinese? He allowed more Chinese to look out into the world, so they could see many different paths and ideas. There were countless, Darwinism, liberalism, pragmatism, socialism all these new “isms” could be the tools to a realization of a strong and unified China. And of course there was Marxism, many Chinese laborers who went to Russia saw first hand what the Bolsheviks had accomplished. The principal of Peking University, Cai Yuanpei would resign on May 9th, 1919 causing a huge uproar. What once united all these intellectual New Culture movement types, gradually changed after the May fourth movement. Hu Shih, Cai Yuanpei and liberal minded intellectuals urged for protesting students to return to their classrooms, but those like Chen Duxiu and Li Dazhao urged for more radical political action. Marxist study groups would form and with them the first meetings of the Chinese Communist Party. This is of course a story for future podcasts, but it should be noted there would be a divide amongst these intellectuals as to how China should be “modern”. Li Dazhao for example advocated for fundamental solutions, while Hu Shih criticized such thinking “calling for the study of questions, less study of isms”. Those like Chen Dixiu and Li Dazhao would quickly find followers like Mao Zedong.  Now the overall theme here has been “toss out Confucius!” but it was not all like that. Part of the movement much like the Meiji restoration, was to usher in some new, but to incorporate the old so to not lose ones entire culture. For those of you who don't know I began my time on youtube specifically talking about the history of Tokugawa to Showa era Japan. The Meiji restoration was an incredible all encompassing hyper modernization, that for the life of me I can't find a comparison to. But an interesting aspect of it was the “fukko / restore antiquity”. It often goes unmentioned, but the Japanese made these enormous efforts to crop out the outside influences such as Confucianism, Buddhism and such, to find the ancient cultures of their people. This eventually led to an evolution of Shintoism, thus Japan not only wanted to adopt new ideas from the rest of the world, they wanted to find the important aspects of their own cultural history and retain it, make sure they did not lose what made them Japanese. The same can be said of China here.  Yigupai or the “doubting antiquity school” was a group of scholars who applied a critical historiographical approach to Chinese historical sources. They took their ancient texts and really analyzed them to see what was truly authentic, what should be kept. Hu Shih initiated the movement. He had studied abroad and was deeply influenced by western thinking and argued at Peking University that all Chinese written history prior to the Eastern Zhou, that is the second half of the Zhou dynasty needed to be carefully dissected. Many were concerned with the authenticity of pre-Qin texts and began questioning the writers of past dynasties. There was also Gu Jiegang who formed the “Gushibian / Debates on Ancient history” movement and published magazines of the same name. Later in 1922 there was the Critical Review Journal, involving numerous historians. Their work dismantled many beliefs or at minimum cast some doubt on ancient textual writings that had been around for millennia. For example there was the belief Yu the Great or Yu the Engineer who was the first to make real flood control efforts during the Xia Dynasty was an animal or deity figure. There was the notion of peaceful transition of power seen from the Yao to Shun dynasties, but the group found evidence this was all concocted by philosophers of the Zhou dynasty simply to support their political philosophy. They were basically detectives finding the bullshit in their ancient history and this had a profound effect on the current day thinking. The doubting antiquity group's proved the history of China had been created iteratively. Ancient texts had been repeatedly edited, reorganized, hell many had fabricated things to make ends meet for themselves, you could not take their word at face value. They argued all of the supernatural attributes of historical figures had to be questioned, a lot of it was not possible and thus not authentic versions of their history. But the group also were victims of their own criticisms. Many of them would criticize parts of antiquity history simply to get rid of things they didn't like or that got in the way of current day issues. There was also another element to the doubting antiquity movement. Students were pushed to look over things in ancient Chinese history, chinese folklore that Confucian schools dismissed or ignored.  Within the background of the Twenty-One Demands, the Sino-Japanese Treaty, the double promising of Britain and other secret deals made over the future of China had angered her people greatly. The common people of China did not feel represented nor heard at all. Japan was encroaching upon them in Manchuria and now Shandong. Their leadership were either making secret deals to secure their own objectives, or they were completely powerless to other nations and crumbling, such as the case at Versailles. With so many students and laborers going abroad witnessing the civilizations of other nations in the west and Japan, they yearned for the things those people had. Democratic and egalitarian values were at the very forefront of the New Culture Movement. Western science, democracy, bills of rights, racial equality, equality of opportunity, opportunity to venture into politics, the list can go on, these were things alien to China. The people began to enchant the masses with such ideas, while simultaneously criticizing traditional Chinese ethics, her customs, literature, history, philosophy, religion, social and political institutions and such. Liberalism, pragmatism, utilitarianism, anarchism, socialism, communism were thrown around like yardsticks so the people could measure China's traditional culture against them. How did such “isms” match up? Within the current crisis in China which one of these isms might benefit them the most? Overall the movement kept up the greatest theme of needing to look forward. China had always looked to the past. They had suffered so immensely, they were after all enduring the century of humiliation as it would famously become known. It was humiliation after humiliation. How could they change so the past would stop haunting them? Things like the Boxer Protocol, how could China rid itself of these humiliating indemnity payments? Britain's Opium had ushered in a poison that still plagued them, how could they finally rid China of it? The war and encroachment of nations like Britain, Russia and Japan, how could they stop them from continuing these actions? China could not stay the way she was anymore, she had to change. Thus overall within every facet of the movement's ideology, they kept emphasizing to stop looking in the past for answers for today. Today would require looking abroad and within and it would not be easy.  This episode and I do apologize it must be all over the place for you, encompasses a lot of the thoughts and feelings, but its part of a great event known as the May Fourth movement of 1919. China is basically for the first time really going to try and adopt fundamental changes, to become a real modern state. If it were not for lets say, the descent into warlordism, perhaps the Chinese Republican dream could have been started in 1919. Regardless, China will see an incredible amount of change in a short amount of time.  I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The New Culture Movement saw numerous intellectuals rise up and challenge the prevailing social and political order of their nation. They tried to give the public new answers to old questions, and above all else hope. Hope for a better tomorrow. It was to be a arduous journey, but students would be the vanguard into a new age for China.

Several years ago, a book caught my eye, called "Lu Xun's Legacy". Published by the Muban Educational Trust, a non-profit dedicated to the preservation of woodblock art in China and located in London, England, it opened my eyes to Chinese woodblock prints. Reading the book, I realized how little I knew about printmaking, woodblock or otherwise, from China. All I really knew was that Japanese woodblock has roots within Chinese printmaking and I was curious as to how that transpired. Today, I speak with Senior Research Fellow at the Muban Educational Trust, David Barker. David's interests lie in the history and techniques of Chinese printmaking, having written a book on the subject in 2005 called "Tradition and Techniques in Contemporary Chinese Printmaking". David speaks to me about the history of printmaking in China, its techniques, and process. David discusses his time in the country, how prints evolved from the pre-modern (Tang and Ming Dynasties, for instance) into more modern times. We discuss Lu Xun, and the history of purchasing and selling prints in China, and where printmaking in China is today. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Muban Educational Trust : website Lu Xun (1881-1936) : was a seminal figure in modern Chinese literature, renowned for his impactful short stories and essays that exposed the societal and political issues of his era. Born in Shaoxing, Zhejiang Province, his works, including "The True Story of Ah Q" and "Diary of a Madman," critically examined the struggles of ordinary people and the shortcomings of traditional Chinese society. A staunch advocate for cultural and political reform, Lu Xun's writings continue to inspire and resonate with readers, solidifying his legacy as one of the most influential writers in 20th-century Chinese literature. Goldsmiths College: A renowned public research university in London known for its arts, design, and humanities programs. etching: A printmaking technique where an image is created by using acid to etch lines or textures onto a metal plate. lithography: A printing process where images are transferred onto a surface using a flat plate or stone. St. Francis Xavier (1506-1552): was a Roman Catholic missionary who played a significant role in spreading Christianity in Asia, particularly in Japan and India, during the 16th century. Shimabara Rebellion: was a 17th-century uprising in Japan led by Christian peasants against oppressive feudal lords and the prohibition of Christianity. Cultural Revolution: A socio-political movement in China initiated by Mao Zedong in the 1960s aimed at purging "counter-revolutionary" elements and promoting Maoist ideology. Mao Zedong (1893-1976) -  was the founder of the People's Republic of China and a key figure in Chinese communist history. Open Door Policy: A U.S. policy in the late 19th and early 20th centuries advocating for free trade and equal economic access to China among foreign powers. Gang of Four: A political faction led by Mao Zedong's wife, Jiang Qing, during the Cultural Revolution, known for its radical and controversial policies. Anne Farrer PhD:  is the Senior Research Fellow at the MET with a BA in Chinese and a PhD in late Ming woodblock illustration from the School of Oriental and African Studies, University of London. She has served in various roles at the Ashmolean Museum and the British Museum, focusing on Chinese painting, prints, and Central Asian collections. Currently, she is the Programme Director for the MA in East Asian Art at Sotheby's Institute of Art in London and also works with the Muban Educational Trust. Dr. Farrer's exhibitions and publications span topics such as Chinese art from the Silk Route, traditional and contemporary Chinese printmaking, and she has a particular research interest in woodblock printing from seventeenth and eighteenth-century China. Tang Dynasty: An influential dynasty in Chinese history known for its cultural and economic prosperity during the 7th to 10th centuries. Ching Dynasty: Also known as the Qing Dynasty, the last imperial dynasty of China, ruling from 1644 to 1912. Ming Dynasty: preceding the Qing Dynasty, known for its cultural renaissance and maritime exploration during the 14th to 17th centuries. gouache: is a water-based paint known for its opaque and vibrant colours. Made from pigment, water, and gum arabic as a binder, it offers artists versatility in creating both translucent washes and opaque layers. Gouache can be reactivated with water and comes in a range of colors, making it a popular choice for various painting techniques. Gauguin in the South Pacific: refers to the artistic period of Paul Gauguin (1848-1903) when he lived and worked in the South Pacific islands, producing vibrant and exotic paintings. kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.   Ten Bamboo Studio: was a renowned Chinese printing studio established during the Qing Dynasty. Founded by Hu Zhengyan, it produced exquisite woodblock-printed books known for intricate designs and high-quality craftsmanship. These publications covered literature, poetry, painting, and calligraphy, showcasing meticulous detail and vibrant colors. Today, works from the Ten Bamboo Studio are treasured cultural artifacts admired globally for their beauty and historical significance. The Ding Workshops: was a renowned studio in China specializing in traditional woodblock printing. For generations, the Ding family mastered the art of printmaking, producing high-quality prints that often depicted landscapes, figures, and daily life scenes with intricate details and rich colors. Their prints were highly sought after and played a significant role in preserving and promoting Chinese artistic heritage.  Postmodernism in China: a cultural and artistic movement in China that emerged after the Cultural Revolution, characterized by a mix of traditional and contemporary influences. Christer von der Burg : founded the Han Shan Tang bookshop in 1978 in London, specializing in East Asian arts and culture books. Recognizing the underappreciation of Chinese prints compared to Japanese prints, he established the Muban Foundation in 1997 to promote Chinese printing knowledge. Over a decade, he amassed a collection of over 8,000 Chinese prints, now housed with the Muban Educational Trust. Retiring from the book business in 2000, Christer remains active, building one of the world's largest collections of antique Chinese prints, particularly from Suzhou. His passion has revitalized interest in Chinese woodblock printing, educating both artists and collectors on its significance, evident in today's rising print values at Chinese auctions. Cleveland Museum: The Cleveland Museum of Art, a major art museum located in Cleveland, Ohio, known for its diverse collection spanning various cultures and time periods. British Museum: A world-renowned museum in London, housing a vast collection of art and artifacts from around the world. The Ashmolean Museum: in Oxford, England, one of the oldest public museums in the world, known for its extensive collection of art and archaeology. The Dresden Museum of Art: is renowned for its diverse collection of artworks from various periods and styles. Founded in the 19th century, it features masterpieces by artists like Raphael and Rembrandt. The museum's elegant architecture and rotating exhibitions attract art enthusiasts worldwide, making it a cultural hub in Dresden. Crown Point Press: A prestigious printmaking studio and publisher based in San Francisco, known for collaborating with renowned artists. oban: A traditional Japanese print size, approximately 10 x 15 inches, often used for Japanese style woodblock prints. Huizhou :located in Guangdong Province, China, is a city steeped in rich history and cultural heritage. Once a significant center of trade and commerce during the Ming and Qing Dynasties, Huizhou today blends its storied past with modern development. The city offers a mix of historical sites, natural parks, and cultural landmarks, making it a diverse and appealing destination. With its coastal location, Huizhou also attracts beachgoers and outdoor enthusiasts. Furthermore, its thriving economy, particularly in industries like electronics and petrochemicals, highlights its importance as a dynamic hub in southern China. Beijing: The capital city of China, known for its historic landmarks like the Forbidden City and the Great Wall, as well as its modern development. Tianjin: is situated in northeastern China, is a bustling metropolis renowned for its historical significance, vibrant culture, and modern development. As a major port city and economic hub, Tianjin blends traditional Chinese architecture and heritage sites with contemporary skyscrapers and bustling commercial districts. The city boasts a rich cultural scene, featuring theaters, museums, and galleries, as well as a diverse culinary landscape reflecting its cosmopolitan character. With its strategic location and rapid urbanization, Tianjin continues to thrive as a key player in China's economy and as a dynamic center for business, culture, and innovation. Yunnan Province -  is a diverse and culturally rich province in southwest China, known for its stunning landscapes, ethnic minorities, and traditional crafts. Matteo Ricci (1552-1610) was an Italian Jesuit priest and missionary who played a key role in early interactions between China and the West during the Ming Dynasty. Ricci learned Chinese, adopted local customs, and impressed Chinese intellectuals with his knowledge of Western science and technology. He collaborated with Chinese scholar Xu Guangqi to translate Western texts into Chinese, promoting cultural exchange. Despite challenges from both Chinese officials and European Jesuits, Ricci's efforts laid the foundation for future East-West interactions and understanding. Manchu : are an ethnic group primarily originating from the northeastern region of China, historically known as Manchuria. In the 17th century, under the leadership of the Aisin Gioro clan, the Manchu established the Qing Dynasty, which ruled China from 1644 to 1912. Initially a nomadic and tribal people, the Manchu gradually adopted Chinese culture, language, and governance systems as they integrated into the broader Chinese civilization. Despite their eventual assimilation, the Manchu maintained a distinct identity, characterized by their unique language, customs, and traditions. Today, the descendants of the Manchu continue to uphold their cultural heritage and identity, contributing to the rich tapestry of ethnic diversity within China.   © Popular Wheat Productions opening and closing musical credit - Car Hiss By My Window by The Doors from the album L.A. Woman released in 1971 by Elektra Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Natalia Riva"Cena per sei"Lu MinOrientalia Editricewww.orientalia-editrice.comA cura di Silvia PozziTraduzione dal cinese di Natalia F. RivaIn una periferia industriale della Cina degli anni Novanta, un sabato sera a cena due famiglie si riuniscono attorno a una tavola imbandita. Tra il tintinnio delle bacchette e i giochi di sguardi, una donna e un uomo rimasti vedovi e i quattro figli intrecciano i loro destini per sempre. In “Cena per sei”, Lu Min scava con ironia dissacrante e tenerezza nei ricordi dei sei protagonisti, raccontando la quotidianità, i segreti inconfessabili, la devastazione e la fame d'amore della classe media cinese.Natalia Riva è ricercatore a tempo determinato (RTDA) e docente di lingua e cultura cinese. Dopo avere conseguito il titolo di Dottore di ricerca in Storia, Istituzioni e Relazioni Internazionali dell'Asia e dell'Africa Moderna e Contemporanea presso l'Università degli Studi di Cagliari, ha insegnato lingua e cultura cinese e storia della Cina contemporanea presso varie università italiane come docente a contratto. Dal 2020 al 2022 è stata assegnista di ricerca presso l'Università Cattolica del Sacro Cuore dove ha partecipato al progetto “Analisi dell'impatto dei prodotti mediali italiani sul mercato cinese contemporaneo” nel quadro del PRIN 2017 “Italian na(rra)tives: il brand Italia attraverso i media contemporanei in una prospettiva globale”. I suoi studi si concentrano sull'analisi delle strategie culturali, del soft power e delle pratiche discorsive cinesi e del discorso politico e mediatico della Cina contemporanea. Si occupa inoltre di traduzione letteraria e saggistica dal cinese all'italiano.Lu Min, nata nel 1973 nella Provincia cinese del Jiangsu. Inizia a scrivere all'età di venticinque anni. I suoi romanzi e racconti sono stati tradotti in varie lingue. In inglese ha pubblicato “This love could not be delivered” (2016) e “Paradise Temple” (2021). Ha ricevuto diversi premi letterari nazionali, tra cui il Lu Xun. Attualmente vive a Nanchino.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

In this captivating translation of the imaginative prose essay collection Wild Grass (1927) and experimental memoir Morning Blossoms Gathered at Dusk (1928), Eileen J. Cheng expertly showcases the range and imagination of Lu Xun (1881–1936), generally considered to be the father of modern Chinese literature. Combined, these two books include stories and essays that touch on a wide range of topics including fallen leaves, alms seekers, dreams, dead fires, and all the different individuals who inspired Lu Xun's writing. Through surreal prose and unreliable narrators, the books consider wide-reaching questions: What does it mean to be human? How can we know anything? Is pursuing self-knowledge necessary, even if it is impossible? Each translation is accompanied by an introduction that effectively situates the story within the life and work of Lu Xun. As a whole, Eileen's translation Wild Grass and Morning Blossoms Gathered at Dusk (Harvard University Press, 2022) is an intriguing read, and for anyone who is used to Lu Xun's more straightforward prose, it is entirely eye-opening, showing a radically different side to this canonical writer. Sarah Bramao-Ramos is a Research Assistant Professor at the Society of Fellows in the Humanities at the University of Hong Kong. She can be reached at sarahbr@hku.hk Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this captivating translation of the imaginative prose essay collection Wild Grass (1927) and experimental memoir Morning Blossoms Gathered at Dusk (1928), Eileen J. Cheng expertly showcases the range and imagination of Lu Xun (1881–1936), generally considered to be the father of modern Chinese literature. Combined, these two books include stories and essays that touch on a wide range of topics including fallen leaves, alms seekers, dreams, dead fires, and all the different individuals who inspired Lu Xun's writing. Through surreal prose and unreliable narrators, the books consider wide-reaching questions: What does it mean to be human? How can we know anything? Is pursuing self-knowledge necessary, even if it is impossible? Each translation is accompanied by an introduction that effectively situates the story within the life and work of Lu Xun. As a whole, Eileen's translation Wild Grass and Morning Blossoms Gathered at Dusk (Harvard University Press, 2022) is an intriguing read, and for anyone who is used to Lu Xun's more straightforward prose, it is entirely eye-opening, showing a radically different side to this canonical writer. Sarah Bramao-Ramos is a Research Assistant Professor at the Society of Fellows in the Humanities at the University of Hong Kong. She can be reached at sarahbr@hku.hk Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In this captivating translation of the imaginative prose essay collection Wild Grass (1927) and experimental memoir Morning Blossoms Gathered at Dusk (1928), Eileen J. Cheng expertly showcases the range and imagination of Lu Xun (1881–1936), generally considered to be the father of modern Chinese literature. Combined, these two books include stories and essays that touch on a wide range of topics including fallen leaves, alms seekers, dreams, dead fires, and all the different individuals who inspired Lu Xun's writing. Through surreal prose and unreliable narrators, the books consider wide-reaching questions: What does it mean to be human? How can we know anything? Is pursuing self-knowledge necessary, even if it is impossible? Each translation is accompanied by an introduction that effectively situates the story within the life and work of Lu Xun. As a whole, Eileen's translation Wild Grass and Morning Blossoms Gathered at Dusk (Harvard University Press, 2022) is an intriguing read, and for anyone who is used to Lu Xun's more straightforward prose, it is entirely eye-opening, showing a radically different side to this canonical writer. Sarah Bramao-Ramos is a Research Assistant Professor at the Society of Fellows in the Humanities at the University of Hong Kong. She can be reached at sarahbr@hku.hk Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

durée : 00:59:19 - Toute une vie - Le prix Nobel Kenzaburō Ōe dit de lui qu'il est "le plus grand écrivain asiatique produit au XXe siècle". Pour d'autres, il est à la source de toute la littérature du tiers-monde, marchant souvent sur une ligne fine entre critiquer les folies de ses personnages et sympathiser avec ces mêmes folies. - invités : Sebastian Veg Sinologue, directeur d'études à l'EHESS, spécialiste de l'histoire intellectuelle de la Chine moderne et contemporaine; Jean-Philippe Béja Sinologue, politologue, directeur de recherche émérite au CNRS et chercheur au Centre d'études et de recherches internationales (CERI/Sciences Po).; Cai Chongguo Professeur de philosophie, écrivain et ancien dissident de la place Tian'anmen à Pékin en 1989; Anne Kerlan Sinologue, historienne de la Chine et du cinéma chinois; Coraline Jortay Sinologue, chargée de recherche au CNRS et spécialiste de l'histoire littéraire chinoise; Lily Eclimont Journaliste spécialiste de la Chine, ancienne correspondante en Chine pour TF1

上海万圣节的cosplay，构成侵权吗？Though not widespread in China, the celebration of Halloween, involving dressing up as ghouls and ghosts and going "trick or treating", has struck a chord with some of the nation's youth.尽管万圣节在中国并未普及，但“不给糖就捣蛋”等万圣节庆祝活动已经引起了部分中国年轻人的共鸣。Celebrations in Shanghai on Tuesday night not only saw many revelers dressed up as skeletons, witches and Western superheroes such as Spider-Man and Batman, but also celebrities and characters from Chinese folklore, history and fiction.10月31日晚上海的庆祝活动中，人们不仅装扮成骷髅、女巫，以及蜘蛛侠、蝙蝠侠等西方超级英雄，还出现了中国民间传说、历史和小说中的名人与角色。One partygoer dressed up as Lu Xun, a famous Chinese writer living in the early 20th century, while another dressed up as Chinese singer Na Ying.有人打扮成20世纪初的中国著名作家鲁迅，也有人打扮成中国歌手那英。Another dressed up as An Lingrong, a character in the Chinese TV series The Legend of Zhenhuan, and re-created scenes from the drama, which tells a story of the schemes and plots between Emperor Yongzheng's concubines in the imperial palace during the Qing Dynasty (1644-1911).还有人装扮成中国电视剧《甄嬛传》中的角色安陵容，重现了剧中场景。《甄嬛传》讲述了清朝(1644-1911)雍正皇帝的嫔妃们在皇宫中的勾心头角。The costumes seen this year in Shanghai received a great deal of attention among netizens.今年上海万圣节的戏服受到了网友的广泛关注。A topic with the hashtag "Shanghai Halloween", had been viewed more than 120 million times on Sina Weibo social media platform as of 5 pm on Wednesday, with some netizens lauding the creativity and diversity of the costumes.截至11月1日下午5时，新浪微博社交媒体平台上以“上海万圣节”为标签的话题浏览量已超过1.2亿次，部分网友称赞了万圣节服装的创意与多样性。However, some legal professionals have expressed concerns about whether some of the costumes may infringe upon copyright and intellectual property.也有法律专家担心部分服装会侵犯版权及知识产权。"If the partygoers (dressed as characters from film and TV) performed for free and just for fun, and not for profit, during Halloween, their costumes and behaviors wouldn't constitute copyright infringement," said Liu Bin, a lawyer who specializes in intellectual property cases at Beijing Zhongwen Law Firm.北京市中闻律师事务所专门处理知识产权案件的律师Liu Bin表示：“参加派对的人(打扮成影视中的角色)在万圣节期间免费表演，只是为了好玩而非盈利，那么他们的服装和行为并不构成版权侵犯。”"But if someone dresses up as movie or TV characters for commercial purposes, such as to attract more online views to sell goods or advertise, they may infringe upon copyrights," he explained.Liu Bin解释说：“但若有人出于商业目的装扮成影视剧角色，如为了吸引更多网络浏览量，进而兜售商品或打广告，便可能涉及侵权。”He said that people needed to be careful in dressing up as celebrities or public figures, "because if there is an act of vilifying these people, it may also be suspected of damaging their reputation."他说，人们在打扮成名人或公众人物时需小心，“因为若装扮者的行为受到诋毁，公众人物的声誉将可能受损。”According to Liu, dressing up as popular TV drama or movie characters during holidays and then sharing the pictures or videos on social media, including WeChat and Weibo, generally will not face legal risks.据Liu Bin说，在节日期间打扮成热门影视剧角色，并在微信、微博等社交媒体上分享照片或视频，通常不会面临法律风险。"It's necessary to pay special attention to those who have thousands or even millions of followers online, as their posts may bring a large number of online views, and it's difficult to determine whether they are associated with commercial organizations," he added.他补充说：“我们应格外关注拥有上千甚至数百万粉丝的群体。他们的帖子可能会吸引大量在线浏览，而且很难确定他们是否与商业组织有联系。”Copyright英/ˈkɒpiraɪt/美/ˈkɑːpiraɪt/n.版权；著作权Intellectual propertyn.知识产权Infringement英/ɪnˈfrɪndʒmənt/美/ɪnˈfrɪndʒmənt/n.侵犯

Episode 76-Campfire Stories 2 Published  31 October 2023 Hosts: John Schelt, Keoni Hutton & Leslie Reed Happy Halloween! We're continuing the tradition we started last Halloween by sharing more of our favorite spooky stories.  Enjoy the chills and thrills of Edgar Allen Poe, Alvin Schwartz, and Lu Xun. Resources mentioned during this episode: Haunting U can be found at www.hauntingu.com. Sanguine Creek Estates: www.scehaunt.com Chamber of Haunters Website: https://chamberofhaunters.com/ Sound Effects: Music: Dance of Death http://www.purple-planet.com/ Thunder: Recorded by Mark DiAngelo Uploaded: 07.29.11 http://soundbible.com/1913-Thunder-... License: Creative Commons Attribution 3.0 Modifications: Inserted over Dance of Death Music Evil Laughter: Recorded by Himan Uploaded: 03.13.13 License: Public Domain  http://soundbible.com/2054-Evil-Lau... We couldn't continue to bring you awesome content without the support of our sponsors, particularly our Premium sponsors, the Chamber of Haunters and Fear Expo.  Learn more here: www.chamberofhaunters.com https://fearexpolive.com/ Haunting U is a production of Rocky Mountain Home Haunters LLC published under the Creative Commons Attribution 3.0 license. All rights reserved

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms.

关注公众号【Albert英语研习社】，0元领取《3天英语思维风暴营》直播大课，Albert带你巧用英语思维，听说读写译轻松进阶！Over the past year, young people across China have been opting out of the white-collar rat race in search of blue-collar roles as baristas and cashiers. A common refrain among them is how much happier they are ditching their "Kong Yiji long gowns" for "no-brainer" unskilled labor. From a story written by Lu Xun, Kong Yiji is a failed intellectual who refuses to take off his long gown because it's a status symbol. 周邦琴Albert●没有名牌大学背景，没有英语专业背景●没有国外留学经历，没有英语生活环境●22岁成为500强公司英文讲师，录音素材全球员工使用●自学成为同声传译，25岁为瑞士总统翻译

In this episode, a century-old Lu Xun story, Kong Yi Ji, has become popular again. The story reflects the struggles of youth unemployment in modern China. The story blows up on the Chinese internet. A rap song reinterprets that story, addressing contemporary issues like education and working conditions. The story demonstrates that Lu Xun remains relevant, and the debates he sparked continue today. #KongYiJi #YouthUnemployment #LuXun

Mr. Close Enough...Mr. Cha Buduo. He never seems to get things quite right, but he represents everything China is about. This is his story, a short, sardonic piece by the scholar and UN Ambassador Hu Shi. In some ways, Mr. Close Enough echos Lu Xun's Ah Q, in other ways it is the polar opposite of that story. 

The story of Kong Yiji, a miserable scholar-turned-beggar, written by Lu Xun and written in 1918 has gone viral among young Chinese. A record 11.6m of them are expected to graduate from university this year, but the unemployment rate for people aged 16 to 24 in cities is nearly 20%. The Economist's Beijing bureau chief, David Rennie, and senior China correspondent, Alice Su, discuss why the story of Kong Yiji has caused an argument between Chinese netizens and the state. They also hear from graduates about how they see their job prospects.Sign up to our weekly newsletter here and for full access to print, digital and audio editions, as well as exclusive live events, subscribe to The Economist at economist.com/drumoffer. Hosted on Acast. See acast.com/privacy for more information.

Ambition and confidence are two concepts that make an artist. These ideas can take different forms and trajectories, but artists can accomplish anything with talent and a supportive community.  In this episode of The Unfinished Print, I speak with one artist who exudes ambition and confidence. Daryl Howard is a mokuhanga printmaker and artist who lives and works in Austin, Texas. What drew me to Daryl's work is her desire to maintain the mokuhanga tradition, putting both body and soul into her mokuhanga.  Daryl speaks with me about her evolution as a mokuhanga printmaker, her travels, her community, and her time with Hodaka Yoshida.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Daryl Howard - website, Instagram Time Of Smoke That Thunders (2022) Sam Houston State University -  is a public research university located in Huntsville, Texas, USA. Established in 1879 to educate teachers for Texas public schools, SHSU has evolved into a school which offers subjects in criminal justice, Texas studies, and is known for its athletics. intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.  lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.  Stanley Lea  (1930-2017) - was a Texas printmaker and teacher of printmaking at Sam Houston State University in Huntsville, Texas.  Texas A&M - established in 1876 as the Agricultural and Mechanical College of Texas, Texas A&M is a research University in College Station, Texas which has a variety of subjects and programs, more info here. Yokota Airbase, Tōkyō (横田飛行場,) -  established in 1940 as Tama Airbase for the Japanese Air Force, converted in 1945 as an American military base used in the Korean War and the Cold War.  Dr. Richard Lane (1926-2002) -  was a collector of Japanese prints. He was also an author and dealer in Japanese art.  Tsukioka Yoshitoshi  1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.   Yūten Shami - Fudō Myōō threatening the priest Yūten Shami (1867) shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945). Tachikawa, Tōkyō - 立川市 - is a city located in the metropolis of Tōkyō. It had an American military presence until 1977. For some tourist info, you can find it here. surimono (摺物)-  are privately commissioned woodblock prints, usually containing specialty techniques such as mica, and blind embossing. Below is Heron and Iris, (ca. 1770's) by Andō Hiroshige (1797-1858). This print is from David Bull's reproduction of that work. You can find more info about that project, here.   Kunitachi - 国立市 -  is a city located within the metropolis of Tōkyō. Originally a part of the 44 stations Kōshū Kaidō (甲州街道), a road which connected Edo to Kai Prefecture (Yamanashi). Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.    White House O.J. From My Collection (1980) lithograph Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Red Canna (1954) Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Butterfly Dance (1985) zinc plate and mokuhanga Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) University of Texas at Austin - is a public research university in Austin, Texas, USA. Founded in 1883, the University of Texas at Austin has undergraduate and graduate programs. You can find more information here. Lee Roy Chesney III (1945-2021) - was a printmaker and professor at the Universitty of Texas at Austin.  William Kelly Fearing (1918-2011) - was an award winning painter,  printmaker, and artist who was professor Emiritus at the University of Texas at Austin. His work focused on landscapes, religious imagery, and the human figure. Abstract Figure in Oil (1947) oil on canvas Ban Hua: Chinese woodblock prints - There is a lot of information regarding Chinese woodblock printing. The history of Chinese woodblock goes back centuries, longer than the Japanese method. Modern Chinese printmaking began after Mao's Cultural Revolution, strongly connected by the writings and work of philosopher, academic, and artist Lu Xun (1881-1936), who established the Modern Woodcut Movement. First, check out the work of the Muban Educational Trust based in England. More info can be found here and here at Artelino; for Lu Xun's history, you can find more information here.  Victoria Falls - is a large waterfall located on the border of Zambia and Zimbabwe in South Africa. It is also known as Mosi-oa-Tunya or "The Smoke That Thunders" in the Bantu language of Sotho. The falls are 1,708 meters and 108 meters high.  Wacom -Wacom - is a Japanese company that began in 1983. It produces intuitive touch screen display tablets. It has offices in the US and Europe.  Photoshop - is a raster graphics editor created by Adobe. It allows the user to create and edit images for graphic design, typography, and graphic design.  Akua - are water-based pigments used in intaglio, mokuhanga, and monotype.  Winsor & Newton - is a British artist supply company, started in 1832, which sells artist materials such as pigments, brushes, paper, etc. You can find more info, here.  Guerra & Paint Pigment Corp. - is a brick and mortar store located in Brooklyn, New York that sells artists pigments. More info, here.  Dallas Museum of Art - is an art museum established in 1903 and contains art collections from all over the world and from many periods of history. Some of the collections on the DMA are African, American, Asian, European, Contemporary, and Pre-Columbian/Pacific Rim. More info can be found here. Impressionism - is an art movement founded by Claude Monet (1840-1926), Edgar Degas (1834-1917) and other artists in France. The movement was from 1874-1886 and focused on suburban leisure outside Paris. The Impressionist movement launched into the public consciousness in 1874 at the Anonymous Society of Sculptors and Painters and Printmakers exhibition. More information about the Impressionist movement can be found here at The Met.  Blanton Museum of Art - founded in 1963 at the University of Texas at Austin. It houses collections of European, modern, contemporary, Latin American, and Western American Art.  You can find more information here.  Albrecht Dührer (1471-1528) was a painter and author famous for making detailed devotional works with woodcuts. You can find out more from The Met here for more information about his life and work. The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Pop Wave Orange by Daryl Howard (2021) Bridge In The Rain (After Hiroshige) - was a painting painted by Vincent Van Gogh (1853-1890) in the style of woodblock print designer Utagawa Hiroshige (1797-1858).  baren - is a Japanese word used to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although the baren has many variations.  Sharpening brushes on shark skin are traditionally used on mokuhanga brushes that were “sharpened” or softening the brushes bristles rubbing up and down on the shark skin. But today, you can use very fine sandpaper made of silicon carbide (dragon skin). Mokuhanga printmaker John Amoss has a beautiful write-up about using shark skin and its uses here.  Echizen - is a region in Fukui Prefecture, Japan associated with Japanese paper making. It has a long history of paper making. There are many paper artisans in the area. One famous paper maker is Iwano Ichibei. He is a Living National Treasure in paper making, and the ninth generation of his family still making paper today. You can find more information in English, and in Japanese.  kizuki kozo - is a handmade Japanese paper with many uses. Of a moderate weight and cooked with caustic soda. It is widely available.  Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Itoya - is a stationary store in the Ginza district of Tōkyō. It has been in business for over 100 years. They have stores in Yokohama, in various malls throughout Japan and at Haneda and Narita airports. More info can be found on their web page (Japanese) and their Instagram.  Bunpodo - is a stationery store located in the Jinbōchō district of Tōkyō. It was established in 1887 and is considered the first art store in Japan. More info here. Matcha Japan has a walkthrough of the store here. McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print interview with Daniel Jasa of McClain's can be found here. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Cocker-Weber - is a brush manufacturing company based in Philadelphia, Pennsylvania, USA.  It was established in 1892. You can find more information here.  Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Mokuhanga Artists Using Laser - many mokuhnaga printmakers today are exploring using laser engraving for their woodblocks rather than hand cutting. Printmakers who use this method are Cal Carlisle, Endi Poskovich, Shinjji Tsuchimochi, and Benjamin Selby. If you know of others, please let me know! Illustrator - is an Adobe product which creates two-dimensional pieces for artists and illustrators.  James A McGrath - is an educator and artist who served as Director of Arts for American Schools in Europe; he taught design, painting and poetry at the Institute of American Indian Arts and was the Arts and Humanities Coordinator for the US Department of Defence School in Southeast Asia. He also worked on the Hopi Indian Reservation and returned to the Institute of American Indian Art as dean of the college and Museum Director. He is now retired. You can find some of his work and writings here at The Smithsonian.  Hopi Mesa - is the spiritual and physical home of the Hopi tribe in Arizona. It is a group of villages (pueblos) on three mesas. Mesa are flat-topped ridges surrounded by escarpments. More information can be found on Visit Arizona here. National Endowment For The Arts - was established by the US Congress in 1965 and created to fund arts and education in the United States. You can find more information here.  Dawson's Springs Museum - is an art museum located in an old bank and was established in 1986 in Dawson's Springs, Kentucky. Karoo Desert - is a semi-desert located in South America and distinguished by the Great Karoo and the Little Karoo. A great article about the Karoo Desert by The Guardian can be found, here Chobe River - also known as the Kwando, is a river which flows from Angola and Namibia. It is known for its wildlife and runs through various National Parks.   Kachina - these are the religious beliefs of the Hopi, Zuni, Hopi-Tewa, and Kerasan. It incorporates the supernatural, dancing, and dolls through Ancestor worship.  bas relief - is a sculptural technique where figures and designs are carved or moulded onto a flat surface, only slightly raised above the background. Bas relief has been used in art and architecture for thousands of years and is found in various cultures, such as the Egyptians, and Assyrians, during The Rennaisance, until today. Bas relief is used today to decorate buildings, monuments, tombs, and decorative objects such as plaques, medals, and coins. In bas-relief, the figures and designs are typically carved or moulded in shallow relief, with only a few millimetres of depth,  creating a subtle, three-dimensional effect that is less dramatic than the more deeply carved high relief. Bas relief can be made from various materials, including stone, wood, metal, and plaster. sepia - is a reddish brown colour. Can be found in various pigments.  Duomo di Firenze - is the Florence Cathedral, finished in the 15th Century, using some of the finest architects from Italy. It is associated with the Italian Renaissance.  Boston Printmakers -  is an organization of international printmakers started in 1947. It holds a Biennial every two years. You can find more information here. The National Gallery of Art - is a free art gallery in Washington D.C. Founded by financier Andrew W. Mellon. The gallery houses more than 150,000 pieces dedicated to education and culture. Construction finished for the West building in 1941. More info can be found here.  © Popular Wheat Productions opening and closing musical credit - I Got It Bad And That Ain't Good  by The Oscar Peterson Trio (1963) on Verve Records. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

Laszlo welcomes Dr. Naoko Kato onto the CHP to talk about her new book: "Kaleidoscope: The Uchiyama Bookstore and its Sino-Japanese Visionaries." During one of the most fertile periods in modern Chinese literature following the May Fourth Movement, Uchiyama Kanzō operated a bookstore and cultural salon on Sichuan Road that attracted many big names among leftist writers and intellectuals. Most notable among the regular visitors was Lu Xun. Uchiyama and Lu Xun enjoyed a very special friendship that embodied Uchiyama's aspirations for friendship and understanding between the people of China and Japan. You can get the book here: https://earnshawbooks.com/product/kaleidoscope/ here: https://a.co/d/8TMjqKS or here: https://www.barnesandnoble.com/w/kaleidoscope-naoko-kato/1142725298 Learn more about your ad choices. Visit megaphone.fm/adchoices

Laszlo welcomes Dr. Naoko Kato onto the CHP to talk about her new book: "Kaleidoscope: The Uchiyama Bookstore and its Sino-Japanese Visionaries." During one of the most fertile periods in modern Chinese literature following the May Fourth Movement, Uchiyama Kanzō operated a bookstore and cultural salon on Sichuan Road that attracted many big names among leftist writers and intellectuals. Most notable among the regular visitors was Lu Xun. Uchiyama and Lu Xun enjoyed a very special friendship that embodied Uchiyama's aspirations for friendship and understanding between the people of China and Japan. You can get the book here: https://earnshawbooks.com/product/kaleidoscope/ here: https://a.co/d/8TMjqKS or here: https://www.barnesandnoble.com/w/kaleidoscope-naoko-kato/1142725298 Learn more about your ad choices. Visit megaphone.fm/adchoices

Laszlo welcomes Dr. Naoko Kato onto the CHP to talk about her new book: "Kaleidoscope: The Uchiyama Bookstore and its Sino-Japanese Visionaries." During one of the most fertile periods in modern Chinese literature following the May Fourth Movement, Uchiyama Kanzō operated a bookstore and cultural salon on Sichuan Road that attracted many big names among leftist writers and intellectuals. Most notable among the regular visitors was Lu Xun. Uchiyama and Lu Xun enjoyed a very special friendship that embodied Uchiyama's aspirations for friendship and understanding between the people of China and Japan. You can get the book here: https://earnshawbooks.com/product/kaleidoscope/ here: https://a.co/d/8TMjqKS or here: https://www.barnesandnoble.com/w/kaleidoscope-naoko-kato/1142725298 Learn more about your ad choices. Visit megaphone.fm/adchoices

Laszlo welcomes Dr. Naoko Kato onto the CHP to talk about her new book: "Kaleidoscope: The Uchiyama Bookstore and its Sino-Japanese Visionaries." During one of the most fertile periods in modern Chinese literature following the May Fourth Movement, Uchiyama Kanzō operated a bookstore and cultural salon on Sichuan Road that attracted many big names among leftist writers and intellectuals. Most notable among the regular visitors was Lu Xun. Uchiyama and Lu Xun enjoyed a very special friendship that embodied Uchiyama's aspirations for friendship and understanding between the people of China and Japan. You can get the book here: https://earnshawbooks.com/product/kaleidoscope/ here: https://a.co/d/8TMjqKS or here: https://www.barnesandnoble.com/w/kaleidoscope-naoko-kato/1142725298 Learn more about your ad choices. Visit megaphone.fm/adchoices

The U.S. fleet stationed in the Persian Gulf hadn't had time to react. Now it, too, was in flames.In the eighty sixth episode of the Translated Chinese Fiction Podcast, we are committing Quantum Genocide. Granting our 2019 chat a sequel, Chen Qiufan & I discuss the demonic wildcard of his 10 stories in AI 2041 (an idiosyncratic blend of fictional and non-fictional speculation co-authored alongside tech god Kai-fu Lee). California burns, the 1% are slaughtered like dogs, and a new dark age commences. Boot up, log in, and accelerate.-// NEWS ITEMS //Read: How does Chinese science fiction tell China's global strategy? Analysis by LSE China ForesightRead: Matt Turner's preface to his translation of Lu Xun's Weeds: what is the advantage of another translation?Listen: John Minford on four classics of Chinese literature that he believes best reveal the old civilisation and the heart & spirit of Chinese people today.Read: Emily Xueni Jin reviews the development of sci-fi in China and how a new generation of authors is domesticating the genre by focusing on traditionsEvent: Online book club meeting on Cherries on a Pomegranate Tree, written by Li Er and translated by Dave Haysom (& to be published on 27th February)-// WORD OF THE DAY //(缠 – chán – to be haunted/to be entangled)-// Handy TrChFic Links //Help Support TrChFic // Episode TranscriptsINSTAGRAM ⚛️ TWITTER ⚛️ DISCORD

We've reached the midway point in Season 7 with this exciting Chinese Saying from the Record of the Three Kingdoms. The backstory for this chengyu concerns the aftermath of the killing of Guan Yu by the forces of Eastern Wu. The star of this tale is Lu Xun 陆逊 (not 鲁迅). Sun Quan entrusted Lu Xun with an all-important mission. And from this mission to defeat Liu Bei came the saying 忍 辱负重 Rěn Rǔ Fù Zhòng. Sometimes even when you're right, you must suffer ridicule and mockery for the sake of a higher mission that's not yet ripe for execution. Learn more about your ad choices. Visit megaphone.fm/adchoices

We've reached the midway point in Season 7 with this exciting Chinese Saying from the Record of the Three Kingdoms. The backstory for this chengyu concerns the aftermath of the killing of Guan Yu by the forces of Eastern Wu. The star of this tale is Lu Xun 陆逊 (not 鲁迅). Sun Quan entrusted Lu Xun with an all-important mission. And from this mission to defeat Liu Bei came the saying 忍 辱负重 Rěn Rǔ Fù Zhòng. Sometimes even when you're right, you must suffer ridicule and mockery for the sake of a higher mission that's not yet ripe for execution. Learn more about your ad choices. Visit megaphone.fm/adchoices

在今天的节目里，我们一起读鲁迅于1926年写的《藤野先生》。鲁迅是中国最伟大的作家之一。1904年，他在日本的仙台学习医学，在那里遇到教授解剖学的藤野先生。这篇文章就是他对这位老师的回忆。 In today's episode, we will read "Fujino Sensei" (1926) by Lu Xun. Lun Xun is one of the greatest writers in China. In 1904, he studied medicine in Sendai, Japan. There he met Fujino Sensei, who taught anatomy. This essay records Lu Xun's memory towards this teacher. ◉ 藤野先生原文+日文翻译 ◉ Read transcript of this episode ◉ Become a member on Patreon ◉ Quizlet flashcards ◉  Find us on YouTube ◉ We are on LinkedIn ◉ Find a Chinese teacher on italki and receive $10  

When looking for inspiration, when looking for someone you can look up to in your craft, I look to Paul Binnie. Paul is an artist who has carved a living from their craft, and has been a large part of the greater mokuhanga community. His work has touched on so many themes, concepts and ideas. His mokuhanga takes the past and brings it firmly into the future.  On this episode of The Unfinished Print, I speak with mokuhanga printmaker Paul Binnie. Paul speaks about his life and career, how he uses pigments, paper, and wood for his work. We discuss the fantasy and reality of an historical past. We look at shin-hanga, and sōsaku hanga, observing kabuki, as well as taking a look at his other work such as oil painting and his drawings.  This interview was recorded during Paul Binnie's solo show at Scholten Japanese Art in June, 2022. There may be some background noise during the interview. I apologize for any inconvenience.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Paul Binnie - while Paul doesn't have a singular website he does have his Instagram. There is the "Binnie Catalogue," which is produced by a third party which digitally collects his work, past and present. This can be found, here.  Protest March - from the Flowers of a Hundred Years Series (2016) New Year Card - called nengajo (年賀状) in Japanese, these cards have been traditionally passed from person to person since the Heian Period (794-1185). Mokuhanga practitioners make them as well, creating a new one every year focusing on the zodiac sign of the year as a theme. Scholten Japanese Art - is a mokuhanga focused art gallery located in midtown Manhattan. It was founded by René Scholten, an avid collector of the Japanese print. More info can be found, here. intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier, that made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Yoshida Tōshi (1911-1995) - eldest son of Hiroshi Yoshida. Having been affected by polio, and the pressure of continuing his fathers legacy, Tōshi Yoshida made prints and paintings which gradually became expressive, avant garde and abstract. Later in life he focused on birds and mammals. Seki Kenji - is a woodblock printmaker based in Tokyo. He was head printer, and produced prints, for Doi Hangaten as well as making his own pieces.  Late Fall (ca 1990's) Western Representational realism - is an attempt to represent the subject in art in the most realistic way possible. Interchangeable with naturalism in European art of the 19th Century.  kabuki - is a traditional form of Japanese theatre which started in Kyoto on the banks of the Kamo River in the 17th Century. Today it is a multi million dollar business and is almost exclusively run, professionally, by The Shochiku Company. Kabuki, the word, is separated into three different sounds; ka - meaning to sing, bu - meaning to dance, and ki- meaning skill. There are various families in kabuki which generate actors, passing down tradition throughout the lineage. For more information please read this fine article from Nippon.com. There are many books written on the subject of kabuki, but in my opinion, to begin, one needs to read Leonard Pronko's work Theatre East & West, Kawatake Toshio's Kabuki, and Earl Ernst's The Kabuki Theatre. Online, please visit Kabuki21.com, who's site is unparalleled. On YouTube there is the new(ish) Kabuki In-Depth which is updated regularly on kabuki information and history, and is very well done.  Hiroo/Roppongi -  is an upscale area of Tōkyō, Japan. It has a thriving international community, museums, galleries and the like. More info can be found, here.  Nakamura Utaemon VI (1917-2001) - was a kabuki actor who focused primarliy on female roles, or onnagata. He is considered one of the best actors in this kind of role, and was designated a Living National Treasure in Japan, in 1968.  From, A Great Mirror of the Actors of the Heisei Period: Nakamura Utaemon as Agemaki in Sukeroku by Paul Binnie (1997) Agemaki - is a character from the celebrated story Sukeroku, a story about love and revenge. It was first staged in kabuki in 1713. Agemaki is a famous courtesan who is in love with Sukeroku.  Edo Wonderland Nikko Mura - is an Edo stylized theme park based on the architecture of Edo Period (1603-1868) Japan, and is located in Tochigi Prefecture. There are other areas in Japan which contain Edo Period architecture and events, such as the Dutch Trading Post located on Dejima Island in Nagasaki. More info regarding Edo Wonderland, here.  More info on the Dejima, Dutch Trading Post, here.  nō - is a traditional Japanese theatre based on ghost and mythological stories. It, like kabuki, uses dance, music, and drama to tell its story. It is older than kabuki and was patronized by the aristocratic class in Japan. Kabuki was the oppoosite, where the everyperson could enjoy kabuki, the aristrocrats enjoyed nō. Like kabuki, the stage is set in a traditional way, and the roles are played by men. For a more detailed descriptor of nō, you can find it at Japan-Guide.com, here. Takarazuka -  is an all female musical theatre troupe, based in Hyōgo Prefecture, and founded in 1914. The revue has become a popular Kansai tourist attraction. For a detailed description of the Takarazuka, their website in English can be found, here. A Crib's Notes descriptor can be found, here.  kappazuri-e - is the method of stencil printing, usually atributed to the sōsaku hanga artists of the 1950's and 1960's. Artists such as Yoshitoshi Mori (1898-1992), used stencil's to make elaborate prints. It can be quite an interesting and complicated process. More information can be found, here, from Viewing Japanese Prints.    Yoshitoshi Mori : Street Vendors (1970)    German Expressionism - focused on emotional expression rather than realistic expression. German Expressionists  explored their works with colour and shape searching for a “primitive aesthetic” through experimentation. More info can be found, here, on Artsy.net    Max Pechstein - Angler am Lebastrom (1936) watercolour on paper   Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's.      The Girls on The Bridge (1918) woodcut printed in blue with lithograph and pale green on wove paper.    Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.     Jackfruit (2018)   Tama Art University - is an arts university located in various campuses in Tōkyō. It has various departments such as Architecture, Product and Textile Design, and Art Studies.    Ban Hua: Chinese woodblock prints - the history of Chinese woodblock goes back centuries, longer than the Japanese method. Modern Chinese printmaking began after Mao's Cultural Revolution, strongly connected  by the writings and work of philosopher, academic, and artist Lu Xun (1881-1936) who established the Modern Woodcut Movement. There is a lot of information regarding Chinese woodblock printing. To begin, check out the Muban Educational Trust based in England and their work. More info can be found, here.  And here at artelino, For the history of Lu Xun, this can be found, here.    powdered pigments - are an option when producing your mokuhanga. They are pigments which are made of powder, and when mixed with certain binders can be used as gouache, or water colours.    nihonga - was a Japanese artistic movement based on going back to a “traditional” form of Japanese aesthetic in painting, away form the new Western influences which were coming into Japan during the later 19th Century. More info can be found, here.      Tetsu Katsuda (1896-1980) - Evening (1934)   Uemura Shōen (1875-1949) -  was the pseudonym of Uemura Tsune, who was supported by her mother to pursue painting, at a time when female painters were rare. Her work focused on various themes such as nō, the four seasons, and nationalist paintings during World War 2.      Daughter Miyuki (1914) painting   kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking.   shina - is a type of Japanese plywood used in mokuhanga. Not all shina is made equally, buyer beware.    Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. website.   Nihon no Hanga - is a mokuhanga museum located in Amsterdam, Netherlands. It focuses on many types of mokuhanga in history and publishes various catalogues of their exhibitions, which are top notch. More info, here.     The John and Mable Ringling Museum of Art - This museum is dedicated to the arts, Western and “non-Western”from all periods of human history, focusing on education, and conservation. More info, here.    Kabuki Earphone Guide -  is and was an audio guide in Japanese for Japanese, and English for English speaking tourists coming to watch kabuki. It hired English speaking academics to narrate the action as you watched. In 2015 the English version of the audio guide was replaced with the GMARK or GMARC captioning guide. GMARK stands for Graphic Multilingual Advanced Real-time Captioning system.    Kabuki-za - is the main theatre in Tōkyō which shows kabuki performances. It was opened in 1889 and has been rebuilt several times in its history.    Okubi-e -  are woodblock prints of close-up human heads, which came into prominence in the late 19th Century. For me, the best mokuhanga designer of okubi-e is Toyohara Kunichika (1835-1900). His okubi-e of kabuki actors is unparalleled, showing the actors in various positions with intricate backgrounds and poses.      Kawarazaki Gonjuro I as Sato Masakiyo (1869)     Ichikawa Ennosuke IV as Nikki Danjō (1996) by Paul Binnie   Vincent Van Gogh (1853-1890) - was a Dutch post-Impressionist painter. He began to collect Japanese woodblock prints around the winter of 1886-1887 from the art dealer Siegfried Bing. he used to collect and to sell for a profit, although he didn't sell very many. This collection would go on to influence much of his work.  Rebecca Salter - is the President of The Royal Academy of Arts, in London, England. She is also an artist who has written two books about Japanese woodblock printing, Japanese Woodblock Printing (2001), and Japanese Popular Prints (2006). She worked with the Satō Woodblock Print Workshop, documenting their process. Her interview with The Unfinished Print can be found, here.  into the light II (2011) Akira Kurosaki 黒崎彰 (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. W- 396, Wandering Heart (2017) Wimbledon, England - is a district located in South West London. Considered an affluent neighbourhood, it is the home of the Wimbledon tennis tournament. More info can be found here, at Visit London.    Stockwell, London - located in the burough of Lambeth, in London, England. It is a diverse neighbourhood, close to Brixton, with shopping, and restaurants. It's a great area to stay and enjoy a different side of London.    International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.       Hiroshi Yoshida - Fishes of Honolulu at The Honolulu Aquarium (1925)     Summer Canyon - Black's Beach: Sunrise   © Popular Wheat Productions opening and closing musical credit - Yazoo: Too Pieces. From their 1982 album Upstairs At Eric's logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***            

The translator of a recently published collection of Lu Xun's work makes observations about the man behind China's literary titan.Click here to read the article by Eileen J. Cheng.Narrated by Kim Dalrymple.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction