Bridge21 Publications – serie

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This publication unveils creative ideas on knowledge transfer from historical references to commercialization of cultural products.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 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.

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.