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This is Shanghai is a first hand account of expat life in China's (and the world's) largest city. Like a guidebook, it helps newcomers and visitors discover the city; but instead of making quickly-outdated lists of restaurants and museums, Alexander Barrett takes you on a tour of the essential facets of existence in Shanghai. Follow him through the sometimes incredibly old, sometimes futuristic, and often just plain strange sights, sounds, and experiences he's come across in the first year of exploring the city. With its light, humorous style and sharp eye for those key details that explain the sprawling reality of a huge metropolis, this book is perfect for anyone who wants a friendly guide to Shanghai or just a window onto another, fascinating world.
For many in the west, Shanghai is the quintessence of East Asian modernity, whether imagined as glamorous and exciting, corrupt and impoverishing, or a complex synthesis of the good, the bad, and the ugly. How did Shanghai acquire this power? How did people across China and around the world decide that Shanghai was the place to be? Mediasphere Shanghai shows that partial answers to these questions can be found in the products of Shanghai s media industry, particularly the Shanghai novel, a distinctive genre of installment fiction that flourished from the 1890s to the 1930s. Shanghai fiction supplies not only the imagery that we now consider typical of the city, but, more significantly, the very forms simultaneity, interruption, mediation, and excess through which the city could be experienced as a business and entertainment center and envisioned as the focal point of a mediasphere with a national and transnational reach. Existing paradigms of Shanghai culture tend to explain the city s distinctive literary and visual aesthetics as merely the predictable result of economic conditions and social processes, but Alexander Des Forges maintains that literary texts and other cultural products themselves constitute a conceptual foundation for the city and construct the frame through which it is perceived. Working from a wide range of sources, including installment fiction, photographs, lithographic illustrations, maps, guidebooks, newspapers, and film, Des Forges demonstrates the significant social effects of aesthetic forms and practices. Mediasphere Shanghai offers a new perspective on the cultural history of the city and on the literature and culture of modern China in general. "
For every fan of kung fu, steamed dumplings, Confucius and giant skyscrapers, A Geek in China is a hip, smart and concise guide to the Middle Kingdom. Packed with photographs and short articles on all aspects of Chinese culture, past and present, A Geek in China introduces readers to everything from Taoism and Confucianism to pop music and China's new middle class. A mix of traditional culture, such as highlights of Chinese history, great historical and mythological figures, traditional medicine, how the Chinese language works, real Chinese food, martial arts, and how the Chinese Communist Party works, is complimented with information on what makes China unique today. Chapters discuss why China is so crowded, what it's like to work in an office, internet and cell phone culture, dating and marriage practices, top popular movies and movie stars, the contemporary art scene, China's amazing new architecture and infrastructure, and popular holidays. It also contains chapters on what makes the Chinese tick, such as the importance of harmony in society, the practice of humility, and the importance of hierarchy. For visitors to the country, the author includes sections on what to see, both common cultural sites and off-the-beaten-track sites, and how to get around in China. Sections on visiting Hong Kong and Taiwan are also included. This China travel guide is a unique guide to the world's most populous and longest continuous culture. Readers will learn essential information about China's past and present to be able to understand the many references to history, politics, and pop culture that come up in everyday conversation and in the media.
Does the ‘city region’ constitute a new departure in urbanisation? If so, what are the key elements of that departure? The realities of the urban in the 21st century are increasingly complex and polychromatic. The rise of global networks enabled by supranational administrations, both governmental and corporate, strongly influences and structures the management of urban life. How we conceive the city region has intellectual and practical consequences. First, in helping us grasp rapidly changing realities; and second in facilitating the flow of resources, ideas and learning to enhance the quality of life of citizens. Two themes interweave through this collection, within this broad palette. First are the socio-spatial constructs and their relationship to the empirical evidence of change in the physical and functional aspects of urban form. Second is what they mean for the spatial scales of governance. This latter theme explores territorially based understandings of intervention and the changing set of political concerns in selected case studies. In efforts to address these issues and improve upon knowledge, this collection brings together international scholars building new data-driven, cross-disciplinary theories to create new images of the city region that may prove to supplement if not supplant old ones. The book illustrates the dialectical interplay of theory and fact, time and space, and spatial and institutional which expands on our intellectual grasp of the theoretical debates on ‘city-regions’ through ‘practical knowing’, citing examples from Europe, the United States, Australasia, and beyond. This book was originally published as a Special Issue of Regional Studies.
Student projects sponsored by Princeton, Hong Kong, and Tongji universities and reviewed by critics.
This book explores the play of international forces and international ideas about Shanghai, looking backward as far as its transformation into a subdivided treaty port in the 1840s, and looking forward to its upcoming hosting of China’s first World’s Fair, the 2010 Expo. As such, Global Shanghai is a lively and informative read for students and scholars of Chinese studies and urban studies and anyone interested in the history of Shanghai.
While masculinity has been an increasingly visible field of study within several disciplines (sociology, literary studies, cultural studies, film and tv) over the last two decades, it is surprising that analysis of contemporary representations of the first part of the century has yet to emerge. Professor Brian Baker, evolving from his previous work Masculinities in Fiction and Film: Representing Men in Popular Genres 1945-2000, intervenes to rectify the scholarship in the field to produce a wide-ranging, readable text that deals with films and other texts produced since the year 2000. Focusing on representations of masculinity in cinema, popular fiction and television from the period 2000-2010, he argues that dominant forms of masculinity in Britain and the United States have become increasingly informed by anxiety, trauma and loss, and this has resulted in both narratives that reflect that trauma and others which attempt to return to a more complete and heroic form of masculinity. While focusing on a range of popular genres, such as Bond films, war movies, science fiction and the Gothic, the work places close analyses of individual films and texts in their cultural and historical contexts, arguing for the importance of these popular fictions in diagnosing how contemporary Britain and the United States understand themselves and their changing role in the world through the representation of men, fully recognising the issues of race/ethnicity, class, sexuality, and age. Baker draws upon current work in mobility studies and in the study of masculinities to produce the first book-length comparative study of masculinity in popular culture of the first decade of the twenty-first century.

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