Michigan Monographs in Chinese Studies – serie

Traditionally, criticism of plays from the Yüan Dynasty (1260–1368) has been dominated by the so-called poetic and socialist schools. Double Jeopardy instead rigorously evaluates a group of plays by aesthetic criteria generated from within the works themselves. It examines seven courtroom plays with special attention to language and the manipulation of dramatic characters—undoubtedly the most reliable indicators of the playwright’s strength and craftsmanship in such a stylized art form as Yüan tsa-chü drama. The analytical method adopted in Double Jeopardy is textual explication of the conventions of genre and the individual characteristics of each play. The innovation and creative vitality of each playwright emerges through close scrutiny of selected conventional aspects of courtroom dramas: the functions and placement patterns of lyric, verse, and prose as well as the custom of a single singing role and its implication for the presentation of dramatis personae. Because Yüan drama is driven by conventions, Perng demonstrates a method that can be applied not just to judgment reversal plays but to Yüan dramatic criticism as a whole. In pursuing a method of textual explication, Perng provides a basis on which a larger framework of criticism of Yüan drama may be built.

The interplay between the external world (ching) and the poet’s inner world (ch’ing) lies at the heart of Chinese poetry, and understanding the interaction of the two is crucial to understanding this work from within its own tradition. Closely coordinating her discussions of poetry and criticism so that practice and theory become mutually enriching and illuminating, Sun offers sensitive and original readings of poems and a wealth of insights into Chinese poetics.

Materials from the past that wrongly anticipate the future, or present information or judgments that are later proved misleading or erroneous, are sometimes overlooked in reconstructing the past. Yet such documents are as legimiate, and perhaps as important, as those that are vindicated by events or continue to share perspectives with later generations. The five documents reproduced in Nineteenth-Century China are typical of the periods from which they come, but each was overtaken or contradicted by events. Collected with a belief in the legitimacy of attempting to see every period as much as possible in its own terms, these texts offer a glimpse of what China looked like and suggested to Englishmen on the spot in Canton and Hong Kong in the first half of the nineteenth century, and how they viewed their own country and its role vis-à-vis the China they observed. The first two texts in Nineteenth-Century China exemplify the imperialist mind’s eagerness to explore the world, to get a picture of all of its parts, and as rapidly as possible to “open” all areas to the benificent influence of the West, notably through an expanded commerce that would enrich its Western masters. Samuel Ball’s “Observations” (1817) show how much detailed information was available to Westerners and what the mercantile British were after, and an anonymous dissertation (1838) provides an example of the dream of the China as El Dorado: an immense population of eager traders, hard workers, and willing buyers. The third text (1845) is an early foreshadowing by a colonial official, R. M. Martin, of Western imperial arguments, rationalizations, and attitudes that would become common fifty years later. The fourth selection consists of an exchange of correspondence in 1847 about British access to and use of land in the vicinity of Canton. A short statement of purpose (1848) from the Morrison Education Society, demonstrating a missionary enterprise combining Christian evangelism and English education, concludes the book.

Chinese and Japanese Music-Dramas is the result of a conference on the relations between Chinese and Japanese music-drama held at the University of Michigan, Ann Arbor, on October 1–4, 1971. In addition to the Association for Asian Studies, four U-M departments participated in the conference: the Center for Japanese Studies, the Center for Chinese Studies, the School of Music, and the Speech Department. One important inspiration for the creation of such an interdisciplinary conference was the fact that each participant had found, after years of individual research on music-drama in East Asia, consistent frustration caused by attempts to deal on their own with multiple cultural and technical problems. Another motivating force was an awareness among many members of the four disciplines involved that the topic is in fact one of the largest untouched fields of scholarly endeavor in both Asian and theatrical studies. The collection opens with J. I. Crump’s exploration of the Ming commentators who began to subject Yüan musical drama to the same critiques as other literature from the past. In the second chapter, Rulan Chao Pian looks to the structure of arias in Peking Opera for clues about what distinguishes this art form. William P. Malm turns to three key sources for the performance conventions of Japanese Noh drama to glean any Sino-Japanese music relationships that exist in technical terms and practices. In the fourth essay, Carl Sesar analyzes a Noh play that stages the tension between Chinese influence and Japanese originality. Roy E Teele concludes the volume with a formal study of Noh play structure to assess lineages of influence from Chinese dramatic forms. After each contribution, the editors print a transcript of the conference participants’ discussion of that paper, providing the reader with a detailed and nuanced view of how the contributors understood and responded to each other’s work.

Better known in his own times than later, Huan T’an (43 BCE–25 CE) was a scholar-official, independent in his thought and unafraid to criticize orthodox currents of his time. A practitioner of the Old Text exegesis of the Classics, he maintained a position on the court during a turbulent time of political crises, uprisings, and civil war, spanning the reigns of four emperors. His principal work, Hsin-lun, differs from other books on political criticism in that it does not deal primarily with history but takes many examples from contemporary social and political life. While belonging to the Old Text group of court officials and scholars, Huan T’an differed radically from them in his stress on direct knowledge, in his range of practical experience, and in his outspoken criticism of popular opinions. He was not a systematic philosopher, but his ideas were influential in the return to a more worldly conception of Confucianism. To translate Huan T’an’s writings, one must reconstruct the texts. Timoteus Pokora uses two nineteenth-century fragments as a basis around which to orient quotations from Hsin-lun from sixty-four other sources, primarily encyclopedias and commentaries. Pokora provides notes to give context to these short references and to account for discrepancies between quotations and originals, and he includes a large index to add coherence and points of entry.

Pentasyllabic poetry has been a focus of critical study since the appearance of the earliest works of Chinese literary criticism in the Six Dynasties period. Throughout the subsequent dynasties, traditional Chinese critics continued to examine pentasyllabic poetry as a leading poetic type and to compile various comprehensive anthologies of it. The Matrix of Lyric Transformation enriches this tradition, using modern analytical methods to explore issues of self-expression and to trace the early formal, thematic, and generic developments of this poetic form. Beginning with a discussion of the Yüeh-fu and ku-shih genres of the Han period, Cai Zong-qi introdues the analytical framework of modes from Western literary criticism to show how the pentasyllabic poetry changed over time. He argues that changing practices of poetic composition effected a shift from a dramatic mode typical of folk compositions to a narrative mode and finally to lyric and symbolic modes developed in literati circles.

Salt and State is an annotated translation of a treatise on salt from Song China. From its inception in the Han dynasty (206 B.C.–220 A.D.), the salt monopoly was a key component in the Chinese government's financial toolkit. Salt, with its highly localized and large-scale production, was an ideal target for bureaucratic management. In the Song dynasty (960–1279), fiscal pressures on the government had intensified with increased centralization and bureaucratization. A bloated administration and an enormous standing army maintained against incursions by aggressive steppe neighbors placed tremendous strain on Song finances. Developing the salt monopoly seemed a logical and indeed urgent strategy, but each actor in this plan—the emperor, local officials, monopoly administrators, producers, merchants, and consumers—had his own interests to protect and advance. Thus attempts to maximize the effectiveness of the monopoly meant frequent policy swings and led to levels of corruption that would ultimately undo the Song. Unlike other contemporary sources, the Songshi treatise organizes its subject into an intelligible and detailed narrative, elucidating special terminology, the bureaucracy and its processes, and debates relating to Chinese finance and politics, as well as the salt industry itself. Professor Chien's extensive annotation relies on parallel histories that corroborate and supplement the Songshi account, together providing a comprehensive study of this important institution in China's premodern political economy.

Conflicting Counsels to Confuse the Age translates and analyzes thirty-eight memorials to the throne and other Qing documents dealing with important issues of Chinese political economy, providing thoughtful and provocative commentary. Subjects covered by the texts include water control, mining, grain trade, pawnshops, brewing, and commercial shipping. The documents also contain detailed discussions of how the state should control wealth, self-interest, profit, hoarding, and the market. In translating these primary sources, Helen Dunstan invites fellow specialists in Chinese studies, including Qing historians, to watch Qing officials and others thinking through problems of political economy and developing arguments to persuade colleagues or superiors. By emphasizing their rhetorical nature and genre conventions, Dunstan offers a reminder that it is improper to use the “information” in such texts without attention to the author’s purpose, and without grasping the rhetorical structure of the text as a whole. As a model for close reading, Conflicting Counsels aims to induce greater sensitivity to the nature of Qing records. The second purpose of Conflicting Counsels is to help dispel the notion that economic liberalism is necessarily a Western, “modern” phenomenon. Many of the texts translated record areas of tension and controversy in eighteenth-century approaches to a central project of Confucian paternalist administration, “nourishing the people” (yangmin). Although Dunstan attempts to present both sides fairly, some materials included present the opinion that, in certain vital matters, it was better for the state to stand aside, and leave society’s own economic institutions, trade in particular, to handle things. While not a majority, the texts that build some kind of market mechanism argument should be of greatest interest to Qing historians.

In the second half of the twentieth century, studies in Chinese painting history have been greatly aided by several major lists of Chinese artists and their works. Published between 1956 and 1980, these lists were limited to Imperial China. The current index covers the period from 1912 to around 1980. It includes the names of approximately 3,500 traditional-style artists along with lists of their works, reproduced in some 264 monographs, books, journals, and catalogs published from the 1920s to around 1980. With a few exceptions, artists working after 1949 outside continental China are excluded. Revised Edition, 1998; first published by the Asian Studies Program, University of Oregon, 1984.

China’s Revolutions and Intergenerational Relations counters the widely accepted notion that traditional family patterns are weakened by forces such as economic development and social revolutions. China has experienced wrenching changes on both the economic and the political fronts, yet from the evidence presented here the tradition of filial respect and support for aging parents remains alive and well. Using collaborative surveys carried out in 1994 in the middle-sized industrial city of Baoding and comparative data from urban Taiwan, the authors examine issues shaping the relationships between adult Chinese children and their elderly parents. The continued vitality of intergenerational support and filial obligations in these samples is not simply an instance of strong Confucian tradition trumping powerful forces of change. Instead, and somewhat paradoxically, the continued strength of filial obligations can be attributed largely to the institutions of Chinese socialism forged in the era of Mao Zedong. With socialist institutions now under assault in the People’s Republic of China, the future of intergenerational relations in the twenty-first century is once again uncertain.

Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.

In the first study of Two Studies on Ming History, Charles O. Hucker presents an account of a military campaign that provides insight into the nature of civil officials’ authority, decision-making, and relationship with the Ming court. In the spring and summer of 1556, a Chinese renegade named Hsü Hai led an invading group of Japanese and Chinese soldiers on a plundering foray through the northeastern sector of Chekiang province. Opposing them was a military establishment that for years past had been battered by coastal raiders, now under the control of an ambitious and clever official named Hu Tsung-hsien. The campaign was not one of the most consequential in China’s military history, even during the Ming dynasty (1368–1644). But it was famous and well reported in its time, and it illustrates some of the unusual ways in which the Chinese of the imperial age coped with the often unusual military problems they faced. In the second part of Two Studies, Hucker presents a translation of K’ai-tu ch’uan-hsin, a popular narrative of a spontaneous demonstration in which literati and commoners alike rose up to defend an austere and incorruptible adherent to Confucian morality who had been doomed to die because of his defiance of the ruthless and heterodox clique that had usurped imperial power. In 1626, Chinese political morality was at one of its lowest ebbs. On the throne at Peking was an incompetent twenty-one-year-old emperor who was much too occupied with puttering at carpentry to pay attention to the government. Into the vacuum stepped Wei Chung-hsien, the favorite of the emperor’s governess. Wei used brutal terror to make himself undisputed master of the vast bureaucratic mechanism that administered China. One of Wei’s many victims was Chou Shun-ch’ang, a member of the official class who was said to have hated evil as a personal enemy. Chou became critical of Wei, an order was put out for Chou’s arrest, and a popular uprising occurred in protest.

In the latter half of the fourteenth century, at one end of the Eurasian continent, the stage was not yet set for the emergence of modern nation-states. At the other end, the Chinese drove out their Mongol overlords, inaugurated a new native dynasty called Ming (1368–1644), and reasserted the mastery of their national destiny. It was a dramatic era of change, the full significance of which can only be perceived retrospectively. With the establishment of the Ming dynasty, a major historical tension rose into prominence between more absolutist and less absolutist modes of rulership. This produced a distinctive style of rule that modern students have come to call Ming despotism. It proved a capriciously absolutist pattern for Chinese government into our own time. [1, 2 ,3]

Two Twelfth-Century Texts on Chinese Painting presents two texts in translation that provide dual insight into the Painting Academy of Emperor Hui-tsung and the literati school of painting. The Shan-shui ch’un-ch’uan chi is a treatise for beginning landscape painters dated to the Hsüan-ho era. The treatise was written by Han Cho, a reputed member of the Academy, but the text was not specifically directed at Academicians. The treatise collects and orders previous writings on landscape painting; one of Han Cho’s main goals is to list all landscape definitions and their practical application in painting. Yet his view is more detached and analytical than a stereotypical Academy painter, revealing an approach reminiscent of Confucian scholarship and literati painting as well. The Hua-chi by Teng Ch’un is a history of painting that was written as a sequel to two earlier painting histories. In ten chapters, Teng Ch’un compiles facts and critical evaluations of painters from 1075 to 1167, as well as listings of selected masterpieces. Teng Ch’un provides more specific information about the Academy than Han Cho, discussing its organization and examination system, and noting that “form-likeness” and adherence to rules were leading standards for painting in the Academy. On the other hand, he thinks that painting should transmit “soul,” not just “form.” Thus, Teng Ch’un writes the history of both the establishment values of the Academy and the intellectual tendencies of the literati.

The Cultural Revolution was an emotionally charged political awakening for the educated youth of China. Called upon by aging revolutionary Mao Tse-tung to assume a “vanguard” role in his new revolution to eliminate bourgeois revisionist influence in education, politics, and the arts, and to help to establish proletarian culture, habits, and customs, in a new Chinese society, educated young Chinese generally accepted this opportunity for meaningful and dramatic involvement in Chinese affairs. It also gave them the opportunity to gain recognition as a viable and responsible part of the Chinese polity. In the end, these revolutionary youths were not successful in proving their reliability. Too “idealistic” to compromise with the bourgeois way, their sense of moral rectitude also made it impossible for them to submerge their factional differences with other revolutionary mass organizations to achieve unity and consolidate proletarian victories. Many young revolutionaries were bitterly disillusioned by their own failures and those of other segments of the Chinese population and by the assignment of recent graduates to labor in rural communes. Educated Youth and the Cultural Revolution in China reconstructs the events of the Cultural Revolution as they affected young people. Martin Singer integrates material from a range of factors and effects, including the characteristics of this generation of youths, the roles Mao called them to play, their resentment against the older generation, their membership in mass organizations, the educational system in which they were placed, and their perception that their skills were underutilized. To most educated young people in China, Singer concludes, the Cultural Revolution represented a traumatic and irreversible loss of political innocence, made yet more tragic by its allegiance to the unsuccessful campaign of an old revolutionary to preserve his legacy from the inevitable storms of history.

Between the 1890s and the Second World War, twenty-five million people traveled from the densely populated North China provinces of Shandong and Hebei to seek employment in the growing economy of China's three northeastern provinces, the area known as Manchuria. This was the greatest population movement in modern Chinese history and ranks among the largest migrations in the world. Swallows and Settlers is the first comprehensive study of that migration. Drawing methods from their respective fields of economics and history, the coauthors focus on both the broad quantitative outlines of the movement and on the decisions and experiences of individual migrants and their families. In readable narrative prose, the book lays out the historical relationship between North China and the Northeast (Manchuria) and concludes with an examination of ongoing population movement between these regions since the founding of the People's Republic in 1949.

For many years, the oral performing and dramatic literatures of China from 1200 to 1600 CE were considered some of the most difficult texts in the Chinese corpus. They included ballad medleys, comic farces, Yuan music dramas, Ming music dramas, and the novel Shuihu zhuan. The Japanese scholars who first dedicated themselves to study these works in the mid-twentieth century were considered daring. As late as 1981, no comprehensive dictionary or glossary for this literature existed in any language, Asian or Western. A Glossary of Words and Phrases fills this gap for Western readers, allowing even a relative novice who has resonable command of Chinese to read, translate, and appreciate this great body of literature with an ease undreamed of even two decades ago. The Glossary is organized into approximately 8,000 entries based on the reading notes and glosses found in various dictionaries, thesauruses, glossaries, and editions of works from the period. Main entries are listed alphabetically in the pinyin romanization system. In addition to glosses, entries include symbolic annotations, guides to pronunciation, and text citations. The result is a broadly useful glossary serving the needs of students of this literature as well as scholars researching Jin and Yuan language and its usage.

How have traditional Chinese ways of thinking affected problem solving in this century? The traditional, imperial style of inquiry is associated with the belief that the universe is a coherent, internally structured unity understandable through the similarly structured human mind. It involves a reliance on antecedent and authoritarian models, coupled with an introspective focus in investigations, at some cost to objective fact gathering. In contrast, emergent forms of inquiry are guided by the values of individual autonomy and new perspectives on objectivity. In the 1930s and 1940s, some liberal educators held the model of Western science in great esteem, and some scientists practicing objective inquiry helped to create an awareness in the urban areas of inquiry not directed by political values. Drawing on philosophical, social science, and popular culture materials, Donald Munro shows that the two strains coexisted in twentieth century China as mixed motives. Many important figures were motivated by a desire to act consistently with the social values associated with the premodern or received view of knowledge and inquiry. At the same time, these people often had other motives, such as utilitarian values, efficiency, and entrepreneurship. Munro argues that while many competing positions can coexist in the same person, the seeds of the positive, instrumental value of individual autonomy in Chinese inquiry are beginning to compete in both scholarly and popular culture with other, older approaches.

Shanghai’s January Revolution was a highly visible and, by all accounts, crucially important event in China’s Cultural Revolution. Its occurrence, along with the subsequent attempt to establish a “commune” form of municipal government, has greatly shaped our understanding both of the goals originally envisaged for the Cultural Revolution by its leaders and of the political positions held by the new corps of Party leaders thrust upward during its course—most notably Chang Ch’un ch’iao. At this interpretive level, the events in Shanghai seem to embody in microcosm the issues and conflicts in Chinese politics during the Cultural Revolution as a whole, while at the same time shaping our conception of what these larger issues and conflicts were. At the more general, theoretical level, however, the events in Shanghai provide us with an unusual opportunity (thanks to Red Guard raids on Party offices) to view the internal workings of the Party organization under a period of stress and to observe unrestrained interest group formation and mass political conflict through the press accounts provided by these unofficial groups themselves. The January Revolution thus provides us with an opportunity to develop better our more abstract, theoretical understanding of the functioning of the Chinese political system and the dynamics of the social system in which it operates. [1]

Graduate students have traditionally learned a good part of what they know about sources and research aids on modern China through hearsay and serendipity, in unsystematic and unreliable bits and pieces. The field has now developed to the point where this need not and ought not to be so. It is now possible for beginning researchers to start with some shared basic knowledge of research aids and documentary resources. This research guide is meant to provide that knowledge. The user of this guide is envisaged as an American graduate student in history or the social sciences who is already familiar with the major English-language secondary literature on modern China and is about to begin original research, either for a seminar paper or for a dissertation.

The Communist aim of proletarian hegemony in the Chinese revolution was given concrete expression through the Canton Commune—reflected in the policies and strategies that led to the uprising, in the makeup and program of the Soviet setup in Canton, and in the subsequent assessment of the revolt by the Comintern and the Chinese Communist Party. “Proletarian Hegemony” in the Chinese Revolution and the Canton Commune of 1927 describes these developments and, with the further ideological treatment given the Commune serving as a backdrop, will then examine the continuing evolution and ultimate transformation of the proletarian line and the concept of proletarian leadership in the post-1927 history of Chinese Communism. [3]

The Chinese Communist system was from its very inception based on an inherent contradiction and tension, and the Cultural Revolution is the latest and most violent manifestation of that contradiction. Built into the very structure of the system was an inner conflict between the desiderata, the imperatives, and the requirements that technocratic modernization on the one hand and Maoist values and strategy on the other. The Cultural Revolution collects four papers prepared for a research conference on the topic convened by the University of Michigan Center for Chinese Studies in March 1968. Michel Oksenberg opens the volume by examining the impact of the Cultural Revolution on occupational groups including peasants, industrial managers and workers, intellectuals, students, party and government officials, and the military. Carl Riskin is concerned with the economic effects of the revolution, taking up production trends in agriculture and industry, movements in foreign trade, and implications of Masoist economic policies for China’s economic growth. Robert A. Scalapino turns to China’s foreign policy behavior during this period, arguing that Chinese Communists in general, and Mao in particular, formed foreign policy with a curious combination of cosmic, utopian internationalism and practical ethnocentrism rooted both in Chinese tradition and Communist experience. Ezra F. Vogel closes the volume by exploring the structure of the conflict, the struggles between factions, and the character of those factions.

The origins of the Cultural Revolution are still shrouded in uncertainty. Crucial questions either remain unanswered or have been given answers which derive from conflicting interpretations. To what period can the direct origins of the Cultural Revolution be traced? What issues, if any, divided the leadership, and how deep were these divisions? What was the state of power relations and what was Mao’s position? Why did developments in the period preceding the Cultural Revolution reach a climax in such a convulsion? Between Two Plenums examines these questions as they apply to the years 1959–1962. At base, the perspective of pre-Cultural Revolution politics adopted therein is that of “conflict” rather than “consensus.” From this vantage point, the Eighth and Tenth Plenums loom in retrospect as important watersheds in the development of the intraleadership conflict which culminated in the great upheaval.

Economic development in mainland China during the first two decades of Communist control provides a typical example for the difficult task to transform a vast underdeveloped agrarian economy into a modern industrial one. In the first half of this period, a series of massive transformations of social and economic institutions was accompanied by a drafted industrialization program; the result was an impressive speed-up in economic growth. The second decade witnessed an economic crisis (1960–62) and a political upheaval (1966–68). These disruptions marred the economic performance over the period as a whole. Consequently, the long-term growth rate appears to have been only moderate. The Economy of Communist China reviews selected aspects of the economy. After examining the development strategy, it analyzes the quantitative trends and the structural changes. The book goes on to analyze the key factors contributing to the earlier growth and the elements responsible for the later disruption and finally assesses the impact of the Cultural Revolution on the Chinese economy and the prospects of the current Third Five-Year Plan. The text includes a bibliography of selected materials on Chinese economic development.

The student of Chinese painting must from time to time consult John C. Ferguson’s Li-tai chu-lu hua mu, an index to Chinese paintings recorded in Chinese catalogues. The catalogues in which the paintings are compiled are of equal interest: their compilers, the date of their compilation, their scope, their derivation, their merits and shortcomings, and so on. An Annotated Bibliography of Chinese Painting Catalogues and Related Texts provides a way for English-language students with limited knowledge of Chinese to find basic information on the catalogues in an easily available form.

In the two-decade period from 1928 to 1948, the proletarian themes and issues underlying the Chinese Communist Party’s ideological utterances were shrouded in rhetoric designed, perhaps, as much to disguise as to chart actual class strategies. Rhetoric notwithstanding, a careful analysis of such pronouncements is vitally important in following and evaluating the party’s changing lines during this key revolutionary period. The function of the “proletariat” in the complex of policy issues and leadership struggles which developed under the precarious circumstances of those years had an importance out of all proportion to labor’s relatively minor role in the post-1927 Communist led revolution. [1, 2]

Contains two detailed case studies. In “The Fu-t’ien Incident, December 1930,” Ronald Suleski describes the pivotal incident in the power struggle between Mao Zedong and the Communist Central Committee. Daniel Bays’s study of “Agrarian Reform in Kwangtung, 1950–1953” focuses upon the measures taken by the Chinese Communist Party to control and eventually collectivize rural elites in Kwangtung province.

This bibliography includes publications issued between 1956 and August 1968 that reproduce Chinese paintings now in Chinese public or private collections. The great majority of these publications were produced in Mainland China, Taiwan, Hong Kong, or Japan. Each publication included in the bibliography has been provided with a detailed physical description of the publication itself: the amounts of text , the number of plates in color and in monochrome, and a general evaluation of the quality of the reproductions. The title by which each work is referred to in the index is included at the end of each entry.

Many students of China have read in many classic reports of the Chinese revolution about the changing role of Chinese women. Women fighting and working, women speaking and marching, women standing up angry. And yet we absorbed this information in a most curious way, with half the mind, so to speak. It was not until the women’s liberation movement exploded on the American scene that we gained a new and somewhat stunned understanding of the aspects of China’s liberation that were always there, awaiting our discovery. We now see the actions of the Women’s Associations not as part of some general and vague process of “social mobilization,” but as specific, bearing directly on both the concrete and existential situation of their members. Women in China does more than just strengthen our still tenuous grasp on the texture of revolution. It also raises an enormous variety of questions. What were the roots of the women’s movement in China? How did that movement relate to the Communist Party? What were the contradictions between social revolution and militant feminism? What happened to the urban feminists who did not join the Communists? And what was the fate of those who did? How long does it take for social transformation to make its effect felt on the status of women? Women in China draws together recent essays on women so that students may have, in a convenient form, a sense of the range of problems, answers, and questions. The authors share neither a common ideology nor methodology, but only the central query: what about women?