%{search_type} search results

11 catalog results

RSS feed for this result
308 p. : ill., ports. ; 24 cm.
  • Acknowledgments List of Chinese Dynasties and Note on TranslationIntroduction: Toward a Transnational Feminist TheoryThe Historical Context: Chinese Feminist Worlds at the Turn of the Twentieth CenturyHe-Yin Zhen BiographyHe-Yin Zhen, "On the Question of Women's Liberation" He-Yin Zhen, "On the Question of Women's Labor"He-Yin Zhen, "Economic Revolution and Women's Revolution"He-Yin Zhen, "On the Revenge of Women"He-Yin Zhen, "On Feminist Antimilitarism"He-Yin Zhen, "The Feminist Manifesto"Liang Qichao BiographyLiang Qichao, "On Women's Education"Jin Tianhe BiographyJin Tianhe, "The Women's Bell"Bibliography Index.
  • (source: Nielsen Book Data)9780231162913 20160615
He-Yin Zhen (1886--1920) was a female theorist who played a central role in the birth of Chinese feminism. Editor of a prominent feminist-anarchist journal in the early twentieth century and exponent of a particularly incisive analysis of China and the world. Unlike her contemporaries, He-Yin Zhen was concerned less with China's fate as a nation and more with the relationship among patriarchy, imperialism, capitalism, and gender subjugation as global and transhistorical problems. Her bold writings were considered radical and dangerous in her lifetime and gradually have been erased from the historical record. This volume, the first translation and study of He-Yin's work in English or Chinese, is also a critical reconstruction of early twentieth-century Chinese feminist thought in a transnational context. The book repositions He-Yin Zhen as central to the development of feminism in China, juxtaposing her writing with fresh translations of works by two of her better-known male interlocutors. The editors begin with a detailed portrait of He-Yin Zhen's life and an analysis of her thought in comparative terms. They then present annotated translations of six of her major essays, as well as two foundational tracts by her male contemporaries, Jin Tianhe (1873--1947) and Liang Qichao (1873--1929), to which He-Yin's work responds and with which it engages. Jin Tianhe, a poet and educator, and Liang Qichao, a philosopher and journalist, understood feminism as a paternalistic cause that "enlightened" male intellectuals like themselves should defend. Zhen counters with an alternative conception of feminism that draws upon anarchism and other radical trends in thought. Ahead of her time within the context of both modernizing China and global feminism, He-Yin Zhen complicates traditional accounts of women and modern history, offering original perspectives on sex, gender, labor, and power that continue to be relevant to feminist theorists in China, Europe, and America.
(source: Nielsen Book Data)9780231533263 20160610
He-Yin Zhen (ca. 1884-1920?) was a theorist who figured centrally in the birth of Chinese feminism. Unlike her contemporaries, she was concerned less with China's fate as a nation and more with the relationship among patriarchy, imperialism, capitalism, and gender subjugation as global historical problems. This volume, the first translation and study of He-Yin's work in English, critically reconstructs early twentieth-century Chinese feminist thought in a transnational context by juxtaposing He-Yin Zhen's writing against works by two better-known male interlocutors of her time. The editors begin with a detailed analysis of He-Yin Zhen's life and thought. They then present annotated translations of six of her major essays, as well as two foundational tracts by her male contemporaries, Jin Tianhe (1874-1947) and Liang Qichao (1873-1929), to which He-Yin's work responds and with which it engages. Jin, a poet and educator, and Liang, a philosopher and journalist, understood feminism as a paternalistic cause that liberals like themselves should defend. He-Yin presents an alternative conception that draws upon anarchism and other radical trends. Ahead of her time, He-Yin Zhen complicates conventional accounts of feminism and China's history, offering original perspectives on sex, gender, labor, and power that remain relevant today.
(source: Nielsen Book Data)9780231162913 20160615
Green Library
xxxiii, 707, A136 pages : illustrations, maps ; 24 cm.
  • The late Ming
  • The Manchu conquest
  • Kangxi's consolidation
  • Yongzheng's authority
  • Chinese society and the reign of Qianlong
  • China and the eighteenth-century world
  • The first clash with the West
  • The crisis within
  • Restoration through reform
  • New tensions in the late Qing
  • The end of the dynasty
  • The new republic
  • A road is made
  • The fractured alliance
  • The Guomindang in power
  • Communist survival
  • World War II
  • The fall of the Guomindang state
  • The birth of the People's Republic
  • Planning the new society
  • Deepening the revolution
  • Cultural revolution
  • Reopening the doors
  • Redefining revolution
  • Levels of power
  • Testing the limits
  • Century's end
  • Breakthrough?
This text, the classic introduction to modern China for students and general readers, emerged from Spence's highly successful introductory course at Yale, in which he traced the beginnings of modern China to internal developments beginning in the early 17th century. Strong on social and political history, as well as Chinese culture and its intersections with politics, this paperback is a longstanding leader in the survey course on modern China.
(source: Nielsen Book Data)9780393934519 20160612
Green Library
xvii, 285 p.

4. Ai Weiwei [2009]

158 p. : col. ill. ; 30 cm.
  • Interview - Hans Ulrich Obrist in conversation with Ai Weiwei. Survey - Karen Smith. Focus - Bernard Fibicher, Working Progress (Fountain of Light). Artist's Choice. Artist's Writings.
  • (source: Nielsen Book Data)9780714848891 20160528
Ai Weiwei (b. 1957) is truly an artist for the twenty-first century. In his sculptures, he refashions artefacts and antiques into surprising, sometimes monumental constructions such as "Template" (2007): hundreds of wooden doors and windows taken from demolished Ming and Qing dynasty temples and arranged into a massive outdoor sculpture.As much as these materials look to the past, they also speak of the present, because never before (and probably never again) have they been available in such abundance. Like his benches carved from centuries-old temple beams, "Template" is a sly commentary on the speed with which China's building boom is obliterating its past. (When Template collapsed in a rainstorm two weeks after its unveiling at Documenta 12, the artist embraced its demise as a clever artistic twist).In China today, making art that's critical of current cultural and economic policies is not a particularly safe career move. But Ai's father, the poet Ai Qing, walked a similar path, absorbing European avant-garde styles while studying in 1930s Paris and later standing by them in the face of Communist opposition, a move that eventually led to his exile to the distant provincial town where his son Weiwei came to be born and raised. In the late 1970s, Ai Weiwei moved to Beijing, banding together with other pro-democracy artists in a loose collective known as the Stars Group.In 1981, following government retaliation against one of their exhibitions, Ai moved to New York, where he attended art school and lived the life of the bohemian for twelve years, his East Village apartment serving as a base for countless visiting Chinese artists. When his father became ill in 1993, Ai returned to China, settling in Beijing and finally taking up his art career in earnest. Weiwei's artistic forebears belong primarily to the Western modernist avant-garde (Duchamp and Beuys are particularly relevant).But Ai has equally and increasingly been influenced by modernist architecture and contemporary urban planning, citing the need for an ideal for living in a country where runaway economic development has shown little regard for the everyday life of the individual. In stark contrast to the glass-and-steel high-rises going up around Beijing, the art galleries, ateliers and homes, Ai designs are boxy and modest, made from brick and other vernacular materials. Their resolution of Eastern and Western styles is a fitting parallel to his antique readymade sculptures. What truly marks out Ai as a twenty-first century artist is the multiplicity of his roles: not just artist, designer and architect but also curator, publisher, web blogger and compass for an entire generation of Beijing artists.He has been described more than once as the Chinese Warhol, overseeing a factory-like studio (Fake) with dozens of assistants engaged in countless projects in a range of disciplines. And indeed his outsize public persona is an inseparable part of his art. It should come as no surprise that when Herzog & de Meuron came to Beijing to conceive of a new stadium for the 2008 Olympics, Ai was the one who provided them with a design concept: an interlaced form based on the woven baskets his wife collects at local antique markets.At a time when the West is finally discovering Chinese contemporary art, Ai is one of the few to have transcended the label 'Chinese artist'. In part thanks to his gallery Urs Meile (Lucerne and Beijing), Ai has won the support of strong European collectors. His work is increasingly being shown at major venues around the world (Kunsthalle Bern, Kunsthaus Graz, Tate Liverpool) and included in major international exhibitions (the Moscow Biennial, the Guangzhou Triennale, Documenta). A complex, multi-faceted artist, Ai is poised to make a deep impact on contemporary art far beyond China's borders. Ai Weiwei is represented by Galerie Urs Meile, Lucerne and Beijing.
(source: Nielsen Book Data)9780714848891 20160528
Green Library, Art & Architecture Library (Bowes)
143 p. : chiefly col. ill. ; 27 cm.
  • Introduction
  • People, poverty, politics, and posters
  • Nature and transformation
  • Production and mechanization
  • Women hold up half the sky
  • Serve the people
  • Solidarity
  • Politics in command
  • After the cultural revolution.
Green Library
xiii, 310 p. : ill. ; 23 cm.
  • List of Illustrations Acknowledgments Editors' Introduction Guide for Students and Teachers 1. Biography of the Daoist Saint Wang Fengxian by Du Guangting (850 - 933) Translated by Suzanne Cahill This biography of an important Daoist female saint of the mid-ninth century chronicles her life from childhood through her spiritual self-cultivation, culminating in her ascension to heaven. 2. Biography of the Great Compassionate One of Xiangshan by Jiang Zhiqi (1031 - 1104) Translated by Chun-fang Yu The earliest documentary evidence of the legend of Miaoshan, this stone inscription shows how the local story of a Chinese princess became identified with a universal Buddhist deity, the Bodhisattva Guanyin. 3. The Book of Filial Piety for Women Attributed to a Woman Nee Zheng (ca. 730) Translated by Patricia Buckley Ebrey The excerpt from this classic appears opposite corresponding passages from the original Book of Filial Piety to highlight the differences gender makes in the text and its messages. 4. Funerary Writings by Chen Liang (1143-1194) Translated by Beverly Bossler These three funerary odes describe how the funeral tablets of Chen Liang's mother's family came to be in his care, how his mother and her sister decided to marry their children together, and how his sister sustained her natal household during a period of family calamity. Along with the commemorative biography that follows, they open important windows on domestic life and family values during the period following the fall of the Northern Song. 5. "The Customs of Various Barbarians" by Li Jing (1251 - ?) Translated by Jacqueline M. Armijo-Hussein This description of minority peoples from a Yuan dynasty official's record of his experiences in Yunnan province illustrates how views of gender relations and especially sexual practices served as a measure of the level of civilization among non-Han populations. 6. Selected Writings by Luo Rufang (1515 - 1588) Translated by Yu-Yin Cheng In these writings scholar and philosopher Luo Rufang celebrates women who pursue intellectual and philosophical interests. He also champions the virtue of motherly nurturance and love, which he considered as important as the central Confucian virtues of filial piety and brotherly respect. 7. Final Instructions by Yang Jisheng (1516 - 1555) Translated by Beverly Bossler Composed in prison, these notes instruct Yang's wife and sons how to get along without him. His foremost concerns are three: that his family not become the subject of ridicule, that his sons get along with one another, and that his wife--who had already proven herself the moral conscience of the family--not commit suicide. 8. "Record of Past Karma" by Ji Xian (1614 - 1683) Translated by Grace S. Fong This autobiographical essay by the woman poet Ji Xian , with its powerful descriptions of dreams, visions, and personal illness, is unusually self-revelatory of the tensions between her personal religious desires and her obligations to her family. 9. "Letter to My Sons" by Gu Ruopu (1592 - ca.1681) Translated by Dorothy Ko Having seen to it that both sons married capable and learned wives, Hangzhou poet Gu Ruopu, virtuous widow and matriarch of the Huang family, decided to divide the family property and establish separate households for them. In this letter Gu outlines her support for the Confucian ideal of familism, but admonishes her sons to recognize women's indispensable roles in the male-centered kinship system. 10. Personal Letters in Seventeenth-Century Epistolary Guides Translated by Kathryn Lowry The large number of epistolary guides and collected letters published in the late Ming include models for letters to family members as well as a few examples of love letters and provide a unique view of the social universe of that period. The love letters translated here show how this genre can be read as a sort of epistolary fiction and raise questions about how people might have consulted letter-writing manuals for reasons beyond social etiquette. 11. Letters by Women of the Ming-Qing Period Translated by Yu-Yin Cheng These short letters, written in the late sixteenth and early seventeenth centuries, reveal the erudition and wit as well as the spiritual and aesthetic sensibilities of highly educated upper-class women. 12. Selected Short Works by Wang Duanshu (1621 - after 1701) Translated by Ellen Widmer These short selections from the works of one of the earliest anthologists of women's writings display the extraordinary range and breadth of her learning, while revealing her personal, aesthetic, and scholarly sensibilities. 13. Two Ghost Stories from Liaozhai's Records of the Strange by Pu Songling (1640 - 1715) Translated by Judith T. Zeitlin The ghost story, authored by men and narrated from the male point of view, is one of the privileged spaces in Chinese literature for exploring fantasies of gender and sexuality. Such tales often involve a passionate affair between a young scholar and a beautiful female ghost who possesses a surprising degree of corporeality. The two late imperial tales translated here share two related themes: the power of love to triumph over death and the cosmic power of male generativity. 14. Two Biographies by Zhang Xuecheng (1738 - 1801) Translated by Susan Mann These biographies by one of the most distinguished scholars of the Qing period breathe life into views of women that are sometimes dismissed as mere conventions or stereotypes. In both texts we see, through men's eyes, how women took responsibility for setting the standards to measure and criticize men's behavior. 15. Poems on Tea-Picking Translated by Weijing Lu These poems about women at work, written mostly by men and spanning the dynasties from Tang through Qing, display the varied meanings of women's work in the poetic imagery of elite writers and point to the ways in which women as literary subjects supplied a ceaseless range of possibilities for inventive poets over time. The poems also show the subtle relationship between poetry as social criticism and poetry as aesthetic performance in the culture of the late imperial elite. 16. Drinking Wine and Reading "Encountering Sorrow": A Reflection in Disguise by Wu Zao (1799 - 1862) Translated by Sophie Volpp In this dramatic tableau the playwright casts herself as the sole speaker. She poses before a portrait of herself cross-dressed as a male scholar and sings to the portrait a sequence of lyrics describing her frustrations as a woman of talent. The text concludes that none but her cross-dressed self-image is a match for the writer herself. Hangzhou poet and official Chen Wenshu, a noted patron of female writers, wrote a collection of poems celebrating this work. 17. A Brief Record of the Eastern Ocean by Ding Shaoyi (fl. 1847) Translated by Emma Jinhua Teng During his eight-month stay in Taiwan in 1847 Ding Shaoyi wrote the Brief Record, which treats sixteen topics, among them: taxes, schools, coastal defense, local products, "savage" villages, "savage" customs, and marvels. When he returned to Taiwan in 1871 he appended new material to each item in his original account. The passage translated here is Ding's 1871 supplement to his original entry titled "Savage Customs." 18. The "Eating Crabs" Youth Book Translated by Mark C. Elliott This anonymous bilingual text, in Manchu and Chinese, reflects the complex ethnic picture in late imperial China, particularly in and around Beijing. Youth books were a form of oral performance very popular in the Qing capital. In this particular one, the story is told of a hapless Manchu bannerman and his shrewish Han Chinese wife who run afoul of a pot of feisty crabs. Glossaries and References Contributors Index.
  • (source: Nielsen Book Data)9780520222762 20160528
These translations of eighteen classical Chinese texts from the mid-ninth century (Tang dynasty) through the late nineteenth century (Qing dynasty) offer a comprehensive collection of primary sources focusing on gender issues in medieval and late imperial China. The book's title reflects the sometimes ironic relationship between Confucian viewpoints and women's visibility in Chinese historical documents. The texts, written by both men and women, show that Confucian values and scholarly practices produced a rich documentary record of women's lives.
(source: Nielsen Book Data)9780520222762 20160528
Green Library
xx, 553 p. ; 21 cm.
Green Library
xx, 531 p. ; 24 cm.
Green Library
xi, 285 p. : ill. ; 24 cm.
Spanning the years from 1950 to 1980, this work represents the personal story of a Chinese woman who came of age during the turbulent years of the Cultural Revolution. The author records her life from her early years as the daughter Chinese diplomats in Switzerland, to her girlhood at an elite middle school in Beijing, to her adolescent experience as a Red Guard and later as a labourer on a pig farm in the remote northern wilderness. She tells of her eventual disillusionment with the Maoist revolution and how she struggled to make sense of confliciting events that often blurred the line between victim and victimizer, aristocrat and peasant, communist and counterrevolutionary. Moving between past and present, dream and reality, the author aims to convey the vast complexity of life in China as well as the confusion and magic of her own inner life and struggle.
(source: Nielsen Book Data)9780520204805 20160528
Green Library
xix, 400 p., [16] p. of plates : ill., map ; 24 cm.
Mao Zedong launched the "Great Proletarian Cultural Revolution" 30 years ago. This documentary history of the event presents a selection of key primary documents dealing with the Cultural Revolution's massive and bloody assault on China's political and social systems.
(source: Nielsen Book Data)9781563247378 20160528
Green Library
v. ; 29 cm.
  • v. 1. Cultural revolution to 1969 -- v. 2. Ninth Party Congress (1969) to the death of Mao (1976) -- v. 3. The death of Mao (1976) to the fall of Hua Kuo-feng (1980) -- v. 4. Fall of Hua Kuo-Feng (1980) to the Twelfth Party Congress (1982).
  • (source: Nielsen Book Data)9781570030635 20160528
Green Library, SAL3 (off-campus storage)