Bridge21 Publications, LLC – förlag

Over their long and colourful history, the Chinese people have produced a variety of fascinating and useful cultural artefacts and performances - from the compass and paper money to tea ceremonies and wedding parties - that have won the admiration of people around the world, and improved living conditions for many who remain unaware of the inventions' Chinese origins. This book's forty concise chapters serve as windows into a wide range of Chinese cultural traditions and innovations. Some aspects of culture featured here include Chinese gardens, homes, and temples; calligraphy, chess, and clothing; paper cutting, seals, and musical instruments; martial arts and Peking Opera; and feng shui (auspicious design). Amply illustrated, with idiomatic phrases parsed throughout, the authors offer a road map to guide both the novice and ""old hand"" alike through the essential traits of Chinese culture.

These original essays debate two ways of theorizing social life. One way is the integrative or holistic model of thought typified in the writings of Confucius. The other, the revolutionary tradition, is suspicious of holism and harmony as principles of social thought because harmony is seen as something that can genuinely occur only when a society has rectified deeply ingrained injustice. This volume evaluates the alternative priorities of order and revolt, harmony and spontaneity, in social life.

This publication unveils creative ideas on knowledge transfer from historical references to commercialization of cultural products. It adopts multidisciplinary, cross cultural, and experimental approaches to study the cultural industries, including art, music, popular culture, psychology, entrepreneurship, and economic studies. These scholarly thoughts and ideas were presented in the two conferences held at the Hong Kong Institute of Education in the summer of 2013. The chapters critically evaluate the current situation of the cultural industries and review the underlying relationships between the different sectors in the field. By assessing the development of the cultural industries, the authors hope that market and government intervention can enhance further consolidation and minimize hindrance to the growth of creativity.

This collection of essays on transnational Chinese cinema explores the corporal, psychological, and affective aspects of experiencing bodies on screen; engages with the material and discursive elements of embodiment; and highlights the dynamics between the mind and body involved in bio-cultural practices of cinematic production, distribution, exhibition, and reception.

This study examines a small group of highly educated Chinese who have exerted outsized influence on China's recent rise. They share one thing in common - they all left China to study in the US and subsequently returned to China to apply what they had learned. Their work has in some ways made China more like the US. But more importantly, in adapting overseas practices to the Chinese context, they have not simply imitated or duplicated that which already exists abroad. Instead, they have invented something entirely novel, something that resides at the very heart of China's contemporary developmental experience. Based on extensive interview data collected by the author, these personal accounts open a window on the day-to-day struggles - and step-by-step achievements - of China's most prominent social entrepreneurs and societal activists.

This collection of papers from a project of the National Museum of Ethnology in Japan, unites anthropologists in an international collaborative effort to reexamine the dynamics of family, ethnicity, and the nation-state in China and in overseas Chinese society. Using ethnographic fieldwork, this book sheds light on the interactions between state, society, and identity through a variety of channels, such as family, lineage, kinship or quasi-kinship network, national frameworks such as religion association, Minority Autonomous Regions, and ethnic dress. This research demonstrates that even for the same cultural phenomenon, the discourses at the common, the elite, and the institutional levels will be adjusted based on the needs of the social context, market economy, and global networks.

This book is a collection of translations from Old Photos, a Chinese bimonthly publication launched in 1996 that presents photographs and narratives from ordinary readers and professional historians in a manner that proclaims: this is our history, not the history those above would have us believe. The magazine was concerned with the everyday lives of ordinary people while also covering the momentous, often traumatic, political life of the People's Republic. It became clear it would also serve as a forum and archive for people's experiences and reflections about life in the People's Republic. Old Photos presented an open format where readers' contributions were published alongside that of professional writers, historians', and novelists.

This book describes the entrepreneurial of a Chinese securities firm from the early 1990s, and reviews the 30-year history of China’s capital markets with a panoramic and coherent view of the birth and development of a securities institution. It highlights the distinctive feature of “intellectual entrepreneurship” and demonstrates the historical commitment of the intellectual community in China’s reform and opening up era. The book presents rich details of the development and evolution of the securities industry. Whether it is an analysis of the origin of the term “investment banking” in China, or a live account of international financial events, or the journey of fund practitioners - they all give readers a glimpse into the microcosm of China’s capital markets. This book provides valuable historical information and ideas for the study of the history of China’s capital markets.

This book is an academic biography of Liu Ching-chih, a renowned musicologist and translation scholar, and a prolific music critic in Hong Kong. Three Library Collections named after him are housed in the University of Hong Kong Libraries, the Hong Kong Central Library, and the Library of the Institute of Chinese Studies of the University of Heidelberg.  This volume of life writing is distinguished from average biographies by its reliance on systematic analyses of an extensive array of texts and interview data. The chapters integrate chronologies, narratives, analyses and intertextual connections, with the voice of Liu foregrounded, to present a multifaceted character whose decades-long scholarship spanned across music criticism, the history of new music in China, and translation. Several chapters document Liu’s process of working on his major book projects,. One chapter portrays Liu as a scholar-music critic, and another features his leadership at the Hong Kong Translation Society. A chapter that documents Liu’s immensely rich array of academic and cultural services in Hong Kong is followed by a linguistic and cultural profile of the scholar. The ending chapter, on the biography project itself, traces the evolution of the project, explains the research methodology, and provides a metadiscoursal account of the writing of the book. The book provides a valuable reference for those who want to know about humanities scholars, public intellectuals, music criticism, music research, and civic societies in Hong Kong, for those who are curious about the academic exchange between Hong Kong and mainland China during the 1980s-1990s, and for those who are interested in an interdisciplinary approach in life writing research and the genre of life writing concerning in particular scholars.

Nothing but the Now is a collection of seven stories, most of them about chance encounters in the world, the consequences of greed and temptation, the inescapable past, and moral dilemmas that seem to be tailored to each character’s flaws and foibles. The book explores the larger and more fundamental issues of life, death, love, and desire, and further interrogates the inter-relationships between the individual, the other, and the world. Each character in the stories must struggle to understand the meaning of his or her encounters and translate them into gains in their lives if they are to truly grow and arrive at themselves.

Professor Xu Xiaoyue, a top-notch scholar specializing in ancient Chinese philosophies and religions, displays essential constituents of Chinese humanism before readers. According to him, key concepts such as Confucian ten virtues, Daoist Way and Buddhist metaphysical voidness play quite a significant role in shaping the Chinese humanism, which not only is historically indispensable to the creation of traditional Chinese culture but it also realistically matters to present-day China’s cultural reconstruction in the world that is being remolded by the roots.

This collection of original essays interrogates the nature of intercultural and intra-cultural encounters through anthropological case studies of Asia, Africa, and the Pacific Islands. The chapters show that parties involved in intercultural or intra-cultural encounters, each equipped with their own means and motivated by their own ends, reciprocally engage each other in a dynamic, emergent relationship. Through detailed empirical research, this volume seeks to advance the open question of how we may theorize the cultural interface.

This volume of original essays critically examines the intriguing interplay among major actors and venues of creative practices in contemporary East Asian cities. Its chapters closely investigate manifestations of the political and aesthetic decisions made, or not made, in the construction and representation of creative cities. The contributors give Tokyo, Seoul, Hong Kong, Taipei, and Shanghai special consideration.

Jia Zhangke Speaks Out is a collection of writings by China's most acclaimed film director, Jia Zhangke. The book, originally published in 2009 by Peking University Press, contains Jia's selections of his own writings on film. While he has given numerous film-specific interviews throughout the years, his own notes on cinema, on his own production, and on Chinese culture are unknown to non-Chinese readers. This collection gives access to the key scenes of his life, films, and meetings with other filmmakers, from Hou Hsiao-hsien to Martin Scorsese. From his point of view, we get an insightful and profoundly original take on China's film history, its ruptures and failings, as well as on the post-Tiananmen filmmaking industry, with its blockbusters on one side and indie films (like his) on the other.

Social Stratification in Contemporary China raises and debates major sociological issues of modern and present-day China from a historical perspective. Such topics as "equality and inequality"and "acceptability of defined inequality" have been dealt with in a broad historical context since 1949 when the People's Republic was founded. The work is widely accepted as one of the most important studies trying to clarify the difficult perceptions of policy of reform and opening up that was formulated and implemented in the early 1980s in China. Professor Li Qiang is one of the leading sociologists in China.

Rhetorical Aesthetics approaches Chinese art and literature from a novel perspective with special interest and influence in Chinese theory since the 1990s. The author works out a practice of reading through fine literary, cinematic, and visual art examples. The monograph focuses on important literary texts from the 1950s onward, analyzes Zhang Yimou's acclaimed early films, and proposes how to understand that much vaunted and maligned of attributes: Chinese creativity. It surveys artistic production in ways that provide direct access to an entirely uncharted universe for those who cannot read Chinese.

A masterpiece in the study of Wang Yangming's (1472-1529) philosophy, this book adopts a holistic approach, integrating philosophical history, comparative philosophy, cultural research and historical documents. The book provides a comprehensive and in-depth analysis of Wang's philosophy at different stages throughout its maturation so as to sketch the essential character and grand picture of Wang's philosophy. As a systematic study of Wang's philosophy, this monograph boasts a broad perspective, profound discourse and substantial historical data. It is a perfect manifestation of the author's academic accomplishment and presents the readers with a panorama of Wang's studies. Although the book is focused primarily on Wang, its scope and methodology carry great implications for the study of Song and Ming Confucianism and even ancient Chinese philosophy as a whole.