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The Chinese University Press, , p. Each contributor is requested to provide a short biographical note research interests, current post, major publications, etc. All books for review should be sent to: Lay Buddhism in Contemporary China: Social Engagements and Political Regulations. Divination, Yijing, and Cultural Nationalism: Regulating Christianity in Southwest China in the s. From Middleman Minority to Cultural Ambassadors. Hong Kong in the Cold War. Edited by Priscilla Roberts and John M. Maoism at the Grassroots: Edited by Jeremy Brown and Matthew D.
Weida de Zhongguo gongye geming: Military Interactions in the Taiwan Strait. Global Strategy and Its Taiwan Policy. Does Taiwan Matter to the United States? Policy Debates on Taiwan Abandonment and Beyond.
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Agriculture and Sino-Canadian Relations: Hsieh Pei-chi and His Farmers Program. Taiwan at a Tipping Point: Reform and Revolution on the Russia-China Frontier. The Rebirth of the Moral Self: Movement — Press Dynamics and News Diffusion: A Typology of Activism in Digital China. The Changing Face of Money: Frontiers and Ethnic Groups in China.
More Than a Famine: Mass Exodus of in Northwest Xinjiang. Ethnic Autonomy and Ethnic Inequality: Civilizing the Chinese, Competing with the West: Study Societies in Late Qing China. By Syaru Shirley Lin. Floaters, Settlers, and Returnees: Mobilities and Identities of Educated Young Adults: A Life-History and Biographical Study.
Does Migration Pay Off? Smooth or Troubled Occupation Transition? A Case Study of Ordos City. The Legacy of Resistance against Japan. Theater, Film, and the Afterlives of Propaganda. The Occupy Movement in Hong Kong: History, National Security and Geopolitics. New Generation, New Path: An Administrative or Fiscal Dilemma? Nonprofessional Access to Justice in Rural China: Chinese Identities between Localization and Globalization: The Transition of Party System in Taiwan: The Advance of the State in Contemporary China: State-Market Relations in the Reform Era.
Reconstructing the Self and State in Republican China. The Art of Cloning: Evolving State-Society Relations in China: In Between the Divine and the Leviathan: Preventing Protest One Person at a Time: Psychological Coercion and Relational Repression in China. The Cultural Politics of Late Socialism. Reexamining the Electoral Connection in Authoritarian China: Barisan Nasional and the Chinese Communist Party: Joyous Resistance in Hong Kong. Migration and Development in China: Staying in the Countryside or Moving to the City: A Case Study of Shanghai. From Newcomers to Middle Class: Do All Roads Lead to China?: Rediscovering Intergovernmental Relations at the Local Level: The Emergence of Social Corporatism in China: Nonprofit Organizations, Private Foundations and the State.
Challenges and Opportunities in a Global City. The Cultural Revolution and Overacting: Dynamics between Politics and Performance by Tuo Wang. Unafraid of the Ghost: Multilevel Diplomacy in a Divided Arab World. The Li Qin Mediation Office. Building Security through Lawfare. Ancestor Worship in Contemporary China: The Lyrical in Epic Time: Modern Chinese Intellectuals and Artists through the Crisis. By David Der-wei Wang. Shijie quanli de zhuanyi: Zhengzhi lingdao yu zhanlue jingzheng The Transition of World Power: Political Leadership and Strategic Competition.
Poverty in Hong Kong. Setting the Poverty Line: Health Inequality in Hong Kong. Is Poverty Eradication Impossible? Electoral Politics in Post Hong Kong: Protest, Patronage, and the Media. By Stan Hok-Wui Wong. The Great Wall of Money: Edited by Eric Helleiner and Jonathan Kirshner. Chinese Politics and International Relations: Party Models in a Hybrid Regime: Interests and Political Participation in Urban China: Marriage Expenses in Rural China.
The Middle Class in Neoliberal China: Jiangyu, minzu, wenhua yu lishi What Is China: Territory, Ethnicity, Culture, and History. The Government Next Door: Neighbourhood Politics in Urban China. The New Kings of Crude: Beyond Academia and Politics: Surging between China and Russia: Chinese Studies in Post-Soviet Russia. Professional Commitment and Job Satisfaction: Research on Chinese Investigative Journalism, — Markets, Migrants, and Institutional Change. Riben de guojing wenti: Diaoyutai, dudao, beifang sidao The Territorial Issues of Japan: Zhixue de menjing yu qufa: Sources and Historiography on late Qing and Republican China.
Insights from the Pearl River Delta. Pseudo-urbanization or Real Urbanization? The Incident of Tieben: Rescaling as a Leading National Transformation Project: The Case of Jiangsu. A Local Government Perspective. Opera and the City: The Politics of Culture in Beijing, — Zhongguo nongmin fanxingwei yanjiu — Counteractions of Chinese Peasants, — China and the World in the Next Ten Years.
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A Case Study in Beijing. A Review of the Field, — Civil Society Networks in China and Vietnam: Chinese Medicine and Healing: An Illustrated History, edited by T. Hinrichs and Linda L. The Telecommunication Sector as a Case in Point. Edited by Brian Moloughney and Peter Zarrow. Shanghai wenge shiqi de shehui shenghuo Abnormality and Normality: Social Life during the Cultural Revolution in Shanghai.
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Do Severe Penalties Deter Corruption? A Political Economy of Lawmaking Perspective. Enhancing China—India Trade Cooperation: Social Scientific Studies of Religion in China: Political Pursuit and Political Inclusion: East Asia Before the West: Return Migration from Canada to Hong Kong. A Review of Chinese Scholarship.
Chiang Kai-shek and the Struggle for Modern China. Confucian Culture and Chinese Power Politics. Capital, Commodities, and Networks in Southeast Asia. Christians, Power, and Place in Contemporary Wenzhou. Settlement Intention and Split Households: Mainlander Taiwanese in Dongguan and Shanghai.
In the Name of Legitimacy: The Case of the 1. Time for a New Direction? Election and Structural Analysis. The State of the Field, — Policy and the Politics of Retrenchment. Performance, Meaning, and Ideology in the Making of Legitimacy: A Case Study of Shanxi Province. Study of the Diaoyu Islands: The Discourse of Art in s China.
Retrospect and Prospects beyond the First Decade. Edited by Ming K. China in the 21st Century: What Everyone Needs to Know. Japanese Cinema in the Global System: An Asian Classical Cinema. When China Encounters Asia Again: Remapping Contemporary Chinese Cinema Studies. Of the East Asian Cultural Sphere: Children Caught in Crossfire: John Woo and a Global Affective Cinema.
The Global within the Local, the Transnational within the National. The World without Future: Footprints of the Missing: Cinema, Space, and Polylocality in a Globalizing China. Land Property Rights and Urbanization in China. Growth Politics in Urban China: Spatial Integration in Changzhou. Environmental Governance in China: China and the New International Order. Edited by Wang Gongwu and Zheng Yongnian. The Night Entertainments of Han Xizai: A Scroll by Gu Hongzhong. Popular Protest in China. Edited by Jonathan Schwartz and Shawn Shieh. Edited by Dali L. Yang and Litao Zhao.
Fighting Famine in North China: American Public Discourse on the Church in China. Protestant Christianity in China: Relegitimation through New Patterns of Social Security: Neighbourhood Communities as Legitimating Institutions. Making Guanxi More Influential. Symmetry, Soft Power and South Africa. From Imperial Capital to Olympic City. Dray-Novey and Haili Kong.
The Challenge to Global Order. Negotiated Power in Late Imperial China: The Zongli Yamen and the Politics of Reform. Pattern, Process and Mechanism. Dispute Resolution Strategies in a Hybrid System. Rule of Law and Dispute Resolution in China: Evidence from Survey Data. Litigating Economic Disputes in Rural China. The Rule of Law in China: The Precious Raft of History: Keeping Democracy at Bay: Re-envisioning the Chinese Revolution: Portrait of a Community: Taiwan during Martial Law.
Contractual Thinking and Responsible Government in China: A Constructivist Framework for Analysis. One Country, Diverse Systems: Regulating Decentralized State Industries: A Century of Travels in China: Critical Essays on Travel Writing from the s to the s. Edited by Douglas Kerr and Julia Kuehn. The Chinese Academy of Social Sciences: Shaping the Reforms, Academia and China — By Margaret Sleeboom- Faulkner.
Learning to Belong to a Nation. Structural Changes in the Economy of Hong Kong since Like Sons and Daughters of Hong Kong: The Return of the Young Generation. Culture and the City: One Public, Two Health Systems: Hong Kong and China, Integration without Convergence. Retreat of the State? The Rise of China and Soft Power: Interfirm Relations under Late Industrialization in China: The Supplier System in the Motorcycle Industry. Edited by Zhang Zhen. Empire, Nation and Beyond: Edited by Joseph W. Esherick, Wen-hsin Yeh and Madeleine Zelin.
The Limits of Developmental Autocracy. But rational calculations of and righteous outrage at the disparity between rich and poor did not suffice to instill hatred of class enemies who had been Downloaded from mcx. For this purpose, the museum had to be more than a schoolroom. In the words of the propaganda officials who created it, the museum had to become a temple.
Ma Li had long believed in the persuasive power of the once ubiquitous City God Temple. Delighted by the first set of dioramas in the Landlord Manor, he argued for using folk sculptures to arouse class feelings: As Barend ter Haar has argued for the Cultural Revolution, the Communists preserved traditional demonological Downloaded from mcx.
Photo courtesy of Wang Guanyi. In recent memoirs, Downloaded from mcx. Wang Guanyi particularly recalls a scene of a wife of a netherworld king being held aloft by demons, and explains how the artists discussed the following questions: Visitors to the Landlord Manor were shown through the museum by docents, in much the same way that laypeople once visited temple caves with monks or were regaled by itinerant storytellers unfurling their scrolls with depictions of hell Teiser, With dramatic musical scor- ing, camera pans of the still museum displays impart a sense of foreboding: As a socialist temple, however, the Landlord Manor Museum did not sim- ply depict an otherworldly past.
More importantly, it mediated between the past and the present in the same way that traditional temples occupied a lim- inal space between the local magistrate of the earthly bureaucracy and the judges of the netherworld. The museum as temple thus imparted moral lessons with Mao Zedong quotations as its scripture.
Indeed, in additional scenes appended during the Cultural Revolution, clay worker-peasant-soldiers seized a Liu Wencai brought back to life to be judged by the masses. At the same time, like the liminal space of the temple, the museum blurred old and new society and warned that Liu Wencais Downloaded from mcx. Panorama of the Rent Collection Courtyard. To make the Landlord Manor Museum and its scenes of hell even more cathartic, propaganda chief Ma Li turned to yet another traditional form: One sketch portrays the movement of museum- goers and the tide of their emotions: Another map locates a few main characters and uses dot- ted lines to indicate eyeline matches: These maps demonstrate that the Rent Collection Courtyard was designed as a work of theater, that the silent clay figures were to interact with each other, and that the audience was part of the play.
As he assembled theatrical troupes, Ma mobilized local artists, teachers, and cultural workers to redecorate the spacious and vacant rent col- lection courtyard by National Day, October 1, The eight members of the artistic team included a scriptwriter, a photographer, and several sculp- tors, among them a third generation folk sculptor. The artistic team then invited the local Sichuan opera troupe to come and serve as their models, directing the actors to perform tableaux vivants.
The expanded artistic team of Sichuan Art Academy students and gradu- ates elaborated on the original script, deciding that the desired response to the Downloaded from mcx. Summarizing the creative process in a special issue of Art, the artists spelled out a layered and complex emotional progres- sion for both the statues and their audience: Though the medium of sculpture seems the opposite of theater, museumi- fied and frozen in time rather than living and moving, the artists endeavored to enliven the statues.
The production of the Rent Collection Courtyard was permeated by the performativity of the sculptors, their mod- els, and the final sculpted figures see Figures 4 and 5. Lighting and sound also helped to animate the Rent Collection Courtyard both onsite and in the documentary. The documentary used chiaroscuro lighting and other cinematographic devices to bring the sculpted figures to life: Sculptures from the Rent Collection Courtyard.
Photos courtesy of Wang Guanyi. Immortalized in the documentary and recorded in local gazetteers as literature, the narration was an indispensable part of every visit to the Landlord Manor, whether played on loop over the loudspeaker or spoken by a docent. Sculptors working on the Rent Collection Courtyard in The audience, its waves of emotions already scripted, were also part of the interactive performance. Among the first visitors to the Rent Collection Courtyard was a group of old peasant women who, unprompted, beat the statues with their walking sticks.
Even after the Cultural Revolution had concluded, as Wu Hongyuan remembers, visitors to the Landlord Manor Museum con- tinued to spit on the Liu Wencai figure; at night before going home the museum workers had to wipe off the layers of spittle. The success of the Rent Collection Courtyard as a model work was mea- sured by its ability to turn audiences into performers.
Certainly, it was also praised for its collective authorship, its modernization of tradition and its Sinicization of the Western, and for creating revolutionary artwork accessible Downloaded from mcx. Sculpture thus became an art of enlivenment and liminal transformation. As the Communist Party began to reassess its recent history, the Landlord Manor Museum has become a court- room, the model work now a case to be judged. Showing his own penchant for political theater, Liu Xiaofei has done much more than give personal tours to the occasional academic or journalist.
The online photographs of the event portray a Liu Xiaofei triumphant, leading a parade of a hundred through the cobblestone streets of Anren with an elderly man on each arm, one a tenant farmer and the other a hired hand. Bodies also served as evidence: In the Cultural Revolution, Downloaded from mcx. Photos courtesy of Liu Xiaofei. They took down the signboards pro- moting class struggle and replaced the torture instruments room with a gal- lery of porcelain Interviews with Wu Hongyuan, August 26 and 27, An official booklet on the Landlord Manor that he coauthored in referred to the Rent Collection Courtyard as an artistic achievement and explained that the opium storage room had once been mistaken as a water dungeon.
One seeks full redress of Liu Wencai as an individual, and the second claims that the rehabilitation of this representative of the landlord class would unset- tle the very foundation of the Communist Party. The opposing camp is represented by a half-dozen retired cadres, includ- ing the local party secretary who had presided over land reform.
If Xiaoshu wanted to overturn the Downloaded from mcx. Xiaoshu has since turned to other causes, and as the old cadres have begun to pass away, Liu Xiaofei stands alone. The tour he conducted on our visit to Anren reflects this single- minded passion. Then the illiterate Cao was forced to imprint his thumb on a judg- ment that sent him to prison. After he was released in the Reform era, he tried to clear his name.
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Imprisoned in clay, Cao Keming was first destroyed by the revolution and then forced to lend his image to its glorification, a soul twice stolen. In some cases, he attacked the logic of the exhibition, past and pres- ent: If the Rent Collection Courtyard statues really depict starving peasants, why does this one look so well-fed? Beneath the tangle of these narratives and their crisscrossing logic, Liu Xiaofei denounces the Landlord Manor Museum and the suffering that such propaganda both masked and extended.
It matters less that the dragon bed was fabricated and more that it was made at enormous expense at a time Downloaded from mcx. If the Cao Keming story is true, then clearing the name of the Landlord Manor is required to appease his hungry ghost. His momentary day in court must be purchased with a thirty-yuan ticket. Still, Liu Xiaofei believes that his truth-telling has resulted in changes to the narrative, and historian Guo Wu shows how images of the evil landlord have been and con- tinue to be deconstructed Wu, In addition to generic souvenirs, these shops offered up the landlord for sale.
Photo by Jie Li. In some cases, people like the snack shop proprietor were able to profit from their affiliation with Liu Wencai. The Landlord Manor Museum, as the preceding section has suggested, struggled to reinvent itself in the s. They even held fashion shows, hosted a martial arts school, and opened a zoo with tigers, leopards, and snakes. On our visit to Anren in this museum was the first stop on our combination ticket, and the entry was flanked on the left and right by rep- licas for sale. The Rent Collection Courtyard, too, was described by tour guides in art connoisseurial terms—as an internationally renowned artwork that won the Golden Lion at the Venice Biennale.
Some were even underwhelmed: Funding his collection fever with his real estate fortune made since the s, Fan Jianchuan receives hundreds of containers of artifacts a year from his nationwide network of flea market contacts. In his 6, square meters of warehouse space, for example, Fan Jianchuan holds 30 tons of handwritten materials, 20, dia- ries, a hundred thousand propaganda posters, and millions of Mao badges Fan, Photo by Denise Y. Despite the supermarket metaphor and the sheer quantity of objects, it would be a simplification to say that the Jianchuan Museum Cluster is Downloaded from mcx.
Photos by Jie Li. Though in interviews Fan Jianchuan was quick to say that only future generations shall judge history, inherent in his curatorial practice are his opinions and sentiments. Turning exhibitions of artifacts into installation art, Fan shows off the sheer quantity of his collections through an aesthetic of the mass ornament, arranging Mao badges into four giant Mao faces, turning seals into paving stones, clocks into a catacomb-like wall display, and mirrors into labyrinths.
By virtue of their arrangement, the objects take on new rhetorical powers. Unlike Liu Xiaofei, a lone petitioner, Fan Jianchuan has access to money and power, which means he does not merely challenge history in an official museum. With his private capital, he has built and curated his own growing museum empire. With his military connections, he escaped arrest Downloaded from mcx. To help navigate local politics Fan has a personal advisor in Wu Hongyuan, a retiree of the Landlord Manor and the Bureau of Propaganda.
The images of agricul- tural utopia, clearly doctored and bearing their original captions, would appear ironic to anyone vaguely acquainted with the famine that ensued. The penultimate room in the Museum of Sent-Down Youth holds documents of strange cases such as accidental deaths, all with names blocked out with strips of yellow paper. Representing a tenuous edge between official and unofficial history, such guerilla exhibits offer a counternarrative, however fragmentary, of a private museum under official surveillance.
In some ways, these guerilla exhibits serve as placeholders for the muse- ums Fan Jianchuan still wants to build. In the meantime, he envisions future museums centered on still taboo topics: On the sur- face Fan Jianchuan is blithe about politics and willing to bide his time, sympathizing with the censors who have no yardstick for his museum clus- ter.