Jing Wang – författare

Taking a multidisciplinary approach, this volume examines the relationship between space and the production of local popular culture in contemporary China. The international team of contributors examine the inter-relationship between the cultural imaginary of a given place and China’s continuing drive towards urbanization. This has led to the development of new spaces and places, and new forms of spatial practices that destabilize old concepts of the ‘local’ and ‘locality’.Delivering ethnographic observations and theoretical speculations, this work furthers our understanding of the link between spatial thinking and the production of consumer culture in China.

Taking a multidisciplinary approach, this volume examines the relationship between space and the production of local popular culture in contemporary China. The international team of contributors examine the inter-relationship between the cultural imaginary of a given place and China’s continuing drive towards urbanization. This has led to the development of new spaces and places, and new forms of spatial practices that destabilise old concepts of the ‘local’ and ‘locality’.Delivering ethnographic observations and theoretical speculations, this text furthers our understanding of the link between spatial thinking and the production of consumer culture in China.

High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China captures the vibrant and turbulent intellectual landscape of 1980s China, a decade where utopian visions and emergent crises coexisted in complex tension. This period witnessed the Chinese Communist Party’s ambitious pursuit of modernization through economic and political reform, creating a collaborative yet fraught relationship between the state and the cultural elite. Intellectuals, propelled by "methodology fever" and inspired by ideals of enlightenment, navigated the delicate balance of supporting and contesting the Party's modernization agenda. Key moments, such as the debates over "socialist alienation," the rise of "Culture Fever," and the controversies surrounding works like Heshang (Yellow River Elegy), reveal a landscape of ideological negotiation and cultural transformation. However, the euphoria of progress unraveled with the political and economic disillusionment of the late 1980s, culminating in the seismic events of the Tian’anmen Square crackdown, which shattered the utopian aspirations of the cultural elite.This book examines the decade’s intricate interplay of modernity, cultural subjectivity, and intellectual ambition, as Chinese thinkers engaged in epoch-defining debates over Marxist humanism, modernism, and postmodernism. Through seven essays, it explores moments of ideological rupture, tracing how these disruptions reshaped cultural politics and the literary field in Deng's China. The author contextualizes these shifts within broader tensions between an elitist intellectual vision and the Party’s state-driven utopia, highlighting the inevitable collision of these projects in 1989. By juxtaposing the aspirations of the 1980s with the self-critical introspection of the 1990s, High Culture Fever provides a critical lens for understanding the enduring legacy of this transformative era in Chinese intellectual and cultural history.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China captures the vibrant and turbulent intellectual landscape of 1980s China, a decade where utopian visions and emergent crises coexisted in complex tension. This period witnessed the Chinese Communist Party’s ambitious pursuit of modernization through economic and political reform, creating a collaborative yet fraught relationship between the state and the cultural elite. Intellectuals, propelled by "methodology fever" and inspired by ideals of enlightenment, navigated the delicate balance of supporting and contesting the Party's modernization agenda. Key moments, such as the debates over "socialist alienation," the rise of "Culture Fever," and the controversies surrounding works like Heshang (Yellow River Elegy), reveal a landscape of ideological negotiation and cultural transformation. However, the euphoria of progress unraveled with the political and economic disillusionment of the late 1980s, culminating in the seismic events of the Tian’anmen Square crackdown, which shattered the utopian aspirations of the cultural elite.This book examines the decade’s intricate interplay of modernity, cultural subjectivity, and intellectual ambition, as Chinese thinkers engaged in epoch-defining debates over Marxist humanism, modernism, and postmodernism. Through seven essays, it explores moments of ideological rupture, tracing how these disruptions reshaped cultural politics and the literary field in Deng's China. The author contextualizes these shifts within broader tensions between an elitist intellectual vision and the Party’s state-driven utopia, highlighting the inevitable collision of these projects in 1989. By juxtaposing the aspirations of the 1980s with the self-critical introspection of the 1990s, High Culture Fever provides a critical lens for understanding the enduring legacy of this transformative era in Chinese intellectual and cultural history.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

This book illustrates how potential flows enter into the general theory of motions of viscous and viscoelastic fluids. Traditionally, the theory of potential flow is presented as a subject called 'potential flow of an inviscid fluid'; when the fluid is incompressible these fluids are, curiously, said to be 'perfect' or 'ideal'. This type of presentation is widespread; it can be found in every book on fluid mechanics, but it is flawed. It is never necessary and typically not useful to put the viscosity of fluids in potential (irrotational) flow to zero. The dimensionless description of potential flows of fluids with a nonzero viscosity depends on the Reynolds number, and the theory of potential flow of an inviscid fluid can be said to rise as the Reynolds number tends to infinity. The theory given here can be described as the theory of potential flows at finite and even small Reynolds numbers.

One part riveting account of fieldwork and one part rigorous academic study, Brand New China offers a unique perspective on the advertising and marketing culture of China. Jing Wang’s experiences in the disparate worlds of Beijing advertising agencies and the U.S. academy allow her to share a unique perspective on China during its accelerated reintegration into the global market system.Brand New China offers a detailed, penetrating, and up-to-date portrayal of branding and advertising in contemporary China. Wang takes us inside an advertising agency to show the influence of American branding theories and models. She also examines the impact of new media practices on Chinese advertising, deliberates on the convergence of grassroots creative culture and viral marketing strategies, samples successful advertising campaigns, provides practical insights about Chinese consumer segments, and offers methodological reflections on pop culture and advertising research.This book unveils a “brand new” China that is under the sway of the ideology of global partnership while struggling not to become a mirror image of the United States. Wang takes on the task of showing where Western thinking works in China, where it does not, and, perhaps most important, where it creates opportunities for cross-fertilization.Thanks to its combination of engaging vignettes from the advertising world and thorough research that contextualizes these vignettes, Brand New China will be of interest to industry participants, students of popular culture, and the general reading public interested in learning about a rapidly transforming Chinese society.

A scholar and activist tells the story of change makers operating within the Chinese Communist system, whose ideas of social action necessarily differ from those dominant in Western, liberal societies.The Chinese government has increased digital censorship under Xi Jinping. Why? Because online activism works; it is perceived as a threat in halls of power. In The Other Digital China, Jing Wang, a scholar at MIT and an activist in China, shatters the view that citizens of nonliberal societies are either brainwashed or complicit, either imprisoned for speaking out or paralyzed by fear. Instead, Wang shows the impact of a less confrontational kind of activism. Whereas Westerners tend to equate action with open criticism and street revolutions, Chinese activists are building an invisible and quiet coalition to bring incremental progress to their society.Many Chinese change makers practice nonconfrontational activism. They prefer to walk around obstacles rather than break through them, tactfully navigating between what is lawful and what is illegitimate. The Other Digital China describes this massive gray zone where NGOs, digital entrepreneurs, university students, IT companies like Tencent and Sina, and tech communities operate. They study the policy winds in Beijing, devising ways to press their case without antagonizing a regime where taboo terms fluctuate at different moments. What emerges is an ever-expanding networked activism on a grand scale. Under extreme ideological constraints, the majority of Chinese activists opt for neither revolution nor inertia. They share a mentality common in China: rules are meant to be bent, if not resisted.

First Step is an elementary Chinese textbook for students with no previous background in the language. Focusing on the basics of modern Chinese phonetics and grammatical structure, the book uses everyday topics to help students establish a solid foundation in the Chinese language. The textbook, which includes color illustrations, contains thirty lessons, each of which can be covered in a week's worth of classes. Each lesson features a lively dialogue or a short essay, representing a real-life situation, which is then followed by vocabulary lists and grammar notes. Explanatory notes on Chinese culture and customs are also provided. The companion workbook for First Step is sold separately and includes comprehensive exercises and character writing sheets with information on the stroke orders of newly introduced characters. Free online audio files, accessible on smartphones, tablets, and laptops, allow students to listen to First Step dialogues and practice their pronunciation at their leisure. This vital audio supplement gives students the chance to learn Chinese intonation with greater accuracy.First Step provides students with the necessary tools to begin practical daily communication in Chinese. * Emphasis is on basic grammar structure and principles* Textbook features both traditional and simplified characters, pinyin, and English translation* Perforated workbook (which is sold separately) facilitates easy handling of homework* Free audio recordings of dialogues and other content available online* Appropriate for college and high school students

This workbook is a companion volume to First Step, the elementary Chinese textbook. Featuring both traditional and simplified characters along with pinyin and English translation, the workbook includes comprehensive exercises and character writing sheets with information on the stroke orders of newly introduced characters. Perforated pages facilitate student use and easy handling of homework, and the workbook also includes more than 120 color illustrations. Listening exercises that help students learn to identify and pronounce the tones used in contemporary spoken Chinese are paired with free online audio files, accessible on smartphones, tablets and laptops.

In this pathbreaking study of three of the most familiar texts in the Chinese tradition-all concerning stones endowed with magical properties-Jing Wang develops a monumental reconstruction of ancient Chinese stone lore. Wang’s thorough and systematic comparison of these classic works illuminates the various tellings of the stone story and provides new insight into major topics in traditional Chinese literature.Bringing together Chinese myth, religion, folklore, art, and literature, this book is the first in any language to amass the sources of stone myth and stone lore in Chinese culture. Uniting classical Chinese studies with contemporary Western theoretical concerns, Wang examines these stone narratives by analyzing intertextuality within Chinese traditions. She offers revelatory interpretations to long-standing critical issues, such as the paradoxical character of the monkey in The Journey to the West, the circularity of narrative logic in The Dream of the Red Chamber, and the structural necessity of the stone tablet in Water Margin.By both challenging and incorporating traditional sinological scholarship, Wang’s The Story of Stone reveals the ideological ramifications of these three literary works on Chinese cultural history and makes the past relevant to contemporary intellectual discourse. Specialists in Chinese literature and culture, comparative literature, literary theory, and religious studies will find much of interest in this outstanding work, which is sure to become a standard reference on the subject.

In this pathbreaking study of three of the most familiar texts in the Chinese tradition-all concerning stones endowed with magical properties-Jing Wang develops a monumental reconstruction of ancient Chinese stone lore. Wang’s thorough and systematic comparison of these classic works illuminates the various tellings of the stone story and provides new insight into major topics in traditional Chinese literature.Bringing together Chinese myth, religion, folklore, art, and literature, this book is the first in any language to amass the sources of stone myth and stone lore in Chinese culture. Uniting classical Chinese studies with contemporary Western theoretical concerns, Wang examines these stone narratives by analyzing intertextuality within Chinese traditions. She offers revelatory interpretations to long-standing critical issues, such as the paradoxical character of the monkey in The Journey to the West, the circularity of narrative logic in The Dream of the Red Chamber, and the structural necessity of the stone tablet in Water Margin.By both challenging and incorporating traditional sinological scholarship, Wang’s The Story of Stone reveals the ideological ramifications of these three literary works on Chinese cultural history and makes the past relevant to contemporary intellectual discourse. Specialists in Chinese literature and culture, comparative literature, literary theory, and religious studies will find much of interest in this outstanding work, which is sure to become a standard reference on the subject.

Filled with mirages, hallucinations, myths, mental puzzles, and the fantastic, the contemporary experimental fiction of the Chinese avant-garde represents a genre of storytelling unlike any other. Whether engaging the worn spectacle of history, expressing seemingly unmotivated violence, or reinventing outlandish Tibetan myths, these stories are defined by their devotion to theatrics and their willful apathy toward everything held sacred by the generation that witnessed the Cultural Revolution.Jing Wang has selected provocative examples of this new school of writing, which gained prominence in the late 1980s. Contradicting many long-cherished beliefs about Chinese writers-including the alleged tradition of writing as a political act against authoritarianism-these stories make a dramatic break from conventions of modern Chinese literature by demonstrating an irreverence toward history and culture and by celebrating the artificiality of storytelling. Enriched by the work of a distinguished group of translators, this collection presents an aesthetic experience that may have outraged many revolutionary-minded readers in China, but one that also occupies an important place in the canon of Chinese literature. China’s Avant-Garde Fiction brings together a group of exceptional writers (including Raise the Red Lantern author Su Tong) to the attention of an English-speaking audience.This book will be enjoyed by those interested in Chinese literature, culture, and society-particularly readers of contemporary fiction.Contributors. Bei Cun, Can Xue, Gei Fei, Ma Yuan, Su Tong, Sun Ganlu, Yu Hua Translators. Eva Shan Chou, Michael S. Duke, Howard Goldblatt, Ronald R. Janssen, Andrew F. Jones, Denis C. Mair, Victor H. Mair, Caroline Mason, Beatrice Spade, Kristina M. Torgeson, Jian Zhang, Zhu Hong

In this pathbreaking study of three of the most familiar texts in the Chinese tradition—all concerning stones endowed with magical properties—Jing Wang develops a monumental reconstruction of ancient Chinese stone lore. Wang’s thorough and systematic comparison of these classic works illuminates the various tellings of the stone story and provides new insight into major topics in traditional Chinese literature.Bringing together Chinese myth, religion, folklore, art, and literature, this book is the first in any language to amass the sources of stone myth and stone lore in Chinese culture. Uniting classical Chinese studies with contemporary Western theoretical concerns, Wang examines these stone narratives by analyzing intertextuality within Chinese traditions. She offers revelatory interpretations to long-standing critical issues, such as the paradoxical character of the monkey in The Journey to the West, the circularity of narrative logic in The Dream of the Red Chamber, and the structural necessity of the stone tablet in Water Margin.By both challenging and incorporating traditional sinological scholarship, Wang’s The Story of Stone reveals the ideological ramifications of these three literary works on Chinese cultural history and makes the past relevant to contemporary intellectual discourse. Specialists in Chinese literature and culture, comparative literature, literary theory, and religious studies will find much of interest in this outstanding work, which is sure to become a standard reference on the subject.

Filled with mirages, hallucinations, myths, mental puzzles, and the fantastic, the contemporary experimental fiction of the Chinese avant-garde represents a genre of storytelling unlike any other. Whether engaging the worn spectacle of history, expressing seemingly unmotivated violence, or reinventing outlandish Tibetan myths, these stories are defined by their devotion to theatrics and their willful apathy toward everything held sacred by the generation that witnessed the Cultural Revolution.Jing Wang has selected provocative examples of this new school of writing, which gained prominence in the late 1980s. Contradicting many long-cherished beliefs about Chinese writers—including the alleged tradition of writing as a political act against authoritarianism—these stories make a dramatic break from conventions of modern Chinese literature by demonstrating an irreverence toward history and culture and by celebrating the artificiality of storytelling. Enriched by the work of a distinguished group of translators, this collection presents an aesthetic experience that may have outraged many revolutionary-minded readers in China, but one that also occupies an important place in the canon of Chinese literature. China’s Avant-Garde Fiction brings together a group of exceptional writers (including Raise the Red Lantern author Su Tong) to the attention of an English-speaking audience.This book will be enjoyed by those interested in Chinese literature, culture, and society—particularly readers of contemporary fiction.Contributors. Bei Cun, Can Xue, Gei Fei, Ma Yuan, Su Tong, Sun Ganlu, Yu HuaTranslators. Eva Shan Chou, Michael S. Duke, Howard Goldblatt, Ronald R. Janssen, Andrew F. Jones, Denis C. Mair, Victor H. Mair, Caroline Mason, Beatrice Spade, Kristina M. Torgeson, Jian Zhang, Zhu Hong

Under the Same Blue Sky is the author''s second book, the most part of the stories were suffered by the author himself, part of the stories were suffered by the auhtor''s friends or heard, but all of them were true mostly.As author''s main opinion in the book, as members of the big human family, everybody should understand each other much better, help each other more. Under the same blue sky, of course there are shinning, shadow, raining, snowing, thunder...Every body maybe easily to suffer all of the different, But the different mind maybe caused different feelings, so doing everything depend on the mind to get the different conclutions or results. The author wish everybody should think about You Good Me Good. Be like to help otherbody nothing to lost from you and will constructed a more harmonnious human family.

From the late 1990s until today, China’s sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham’s statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.

From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham's statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.

From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham's statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.

From the late 1990s until today, China’s sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham’s statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.

Dai Jinhua is one of contemporary China''s most influential theoreticians and cultural critics. A feminist Marxist, her literary, film and TV commentary has, over the last decade, addressed an expanding audience in China, Taiwan and Hong Kong.Cinema and Desire presents Dai Jinhau''s best work to date. In it she examines the Orientalism that made Zhang Yimou the darling of international film festivals, establishes Huang Shuqin''s Human, Woman, Demon as the People''s Republic''s first genuinely feminist film, comments on TV representations of the Chinese diaspora in New York, speculates on the value of Mao Zedong as an icon of post-revolutionary consumerism, and analyses the rise of shopping plazas in 1990s'' urban China as a strange montage in which the political memories of Tiananmen Square and the logic of the global capitalist marketplace are intertwined.

Dai Jinhua is one of contemporary China's most influential theoreticians and cultural critics. A feminist Marxist, her literary, film and TV commentary has, over the last decade, addressed an expanding audience in China, Taiwan and Hong Kong.Cinema and Desire presents Dai Jinhau's best work to date. In it she examines the Orientalism that made Zhang Yimou the darling of international film festivals, establishes Huang Shuqin's Human, Woman, Demon as the People's Republic's first genuinely feminist film, comments on TV representations of the Chinese diaspora in New York, speculates on the value of Mao Zedong as an icon of post-revolutionary consumerism, and analyses the rise of shopping plazas in 1990s' urban China as a strange montage in which the political memories of Tiananmen Square and the logic of the global capitalist marketplace are intertwined.

This book addresses problems in the modeling, detection, and control of emergent behaviors and task coordination in multiagent systems. It presents a unified solution to such problems in terms of distributed estimation, distributed control, and optimization of interaction topologies and dynamics.Four aspects of the technical solutions in the book are presented: First, the impact of interaction dynamics on the convergence conditions related to interaction topologies is discussed, utilizing a discontinuous cooperative control algorithm of updated design. Second, distributed least-squares and Kalman filtering algorithms for agents with limited interactions are elaborated upon. Third, a general framework of distributed nonlinear control is established, and distributed adaptive control for nonlinear systems with more general uncertainties is presented. Based on the proposed framework, a distributed nonlinear controller is designed to deal with task coordination of robotic systems with nonholonomic constraints. Finally, the problem of optimal multiagent task coordination is addressed and solutions based on approximate dynamic programming and approximate distributed gradient estimation are presented.Emergent Behavior Detection and Task Coordination for Multiagent Systems is of interest to practicing engineers in areas such as robotics and cyber-physical systems, researchers in the field of systems, controls, and robotics, and senior undergraduate and graduate students.