This work offers the first systematic analysis of writings on modern Chinese history by historians in China from the early twentieth century to the present. It traces the construction of major interpretive schemes, the evolution of dominant historical narratives, and the unfolding of debates on the most controversial issues in different periods. Placing history-writing in the c...(展开全部)

The cultural fascination with and imagination of theater has long been overlooked as an important historical and literary context for reading Water Margin and Journey to the West. This study focuses on the concept of "the theatrical" to read those novels and their commentaries. Imbued with performances, playacting, spectacles, and spectatorship, the early modern theatrical nove...(展开全部)

Since its first publication, Paul A. Cohen's Discovering History in China has occupied a singular place in American China scholarship. Translated into three East Asian languages, the volume has become essential to the study of China from the early nineteenth century to today. Cohen critiques the work of leading postwar scholars and is especially adamant about not reading China ...(展开全部)

Since its first publication, Paul A. Cohen's Discovering History in China has occupied a singular place in American China scholarship. Translated into three East Asian languages, the volume has become essential to the study of China from the early nineteenth century to today. Cohen critiques the work of leading postwar scholars and is especially adamant about not reading China ...(展开全部)

Over the years John and Jean Comaroff have broadened the study of culture and society with their reflections on power and meaning. In their work on Africa and colonialism they have explored some of the fundamental questions of social science, delving into the nature of history and human agency, culture and consciousness, ritual and representation. How are human differences cons...(展开全部)

During the first thirty years under communism, China completely banned crime fiction. After Mao, however, crime genres of all kinds-old and new, Chinese and Western-sprang up in profusion. Crime narrative again became one of the most prolific and best-loved forms of Chinese popular culture, and it often embodied the Chinese people's most trenchant and open critiques of their ne...(展开全部)