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Socialist Cosmopolitanism offers an innovative interpretation of literary works from the Mao era that reads Chinese socialist literature as world literature. As Nicolai Volland demonstrates, after 1949 China engaged with the world beyond its borders in a variety of ways and on many levels—politically, economically, and culturally. Far from rejecting the worldliness of earlier eras, the young People's Republic developed its own cosmopolitanism. Rather than a radical break with the past, Chinese socialist literature should be seen as an integral and important chapter in China's long search to find a place within world literature. Socialist Cosmopolitanism revisits a range of genres, from poetry and land reform novels to science fiction and children's literature, and shows how Chinese writers and readers alike saw their own literary production as part of a much larger literary universe. This literary space, reaching from Beijing to Berlin, from Prague to Pyongyang, from Warsaw to Moscow to Hanoi, allowed authors and texts to travel, reinventing the meaning of world literature. Chinese socialist literature was not driven solely by politics but by an ambitious—but ultimately doomed—attempt to redraw the literary world map.

Red Guard newspapers and pamphlets (wenge xiaobao) were a key source for early research on the Cultural Revolution, but they have rarely been analysed in their own right. How did these publications regard their status and function within the larger information ecosystem of the People's Republic, and what is their role in the history of the modern Chinese public sphere? This article focuses on a particular subset of Red Guard papers, namely those published by radical groups within the PRC's press and publication system. These newspapers critiqued the pre-Cultural Revolution press and reflected upon the possible futures of a new, revolutionary Chinese press. Short-lived as these experiments were, they constitute a test case to re-examine the functioning of the public in a decidedly "uncivil" polity. Ultimately, they point to the ambiguous potential of the public for both consensus and conflict, liberation and repression, which characterizes the press in 20th-century China. (China Q/GIGA)

This dissertation examines the motivations, logic, and functions of media control in the People's Republic of China (PRC). Rather than telling the history of media control in modern China, or giving a comprehensive account of the techniques employed by the Chinese Communist Party (CCP) to control the media, it investigates the origins of the CCP's theoretical approach to the media, as well as the consequences of the resulting concepts for practical media work in the PRC. The first half of the thesis tracks the genesis of the Party's media concept and reconstructs the conditions that contributed to its rise in the first half of the twentieth century; the chapters in the latter half follow this concept in its implementation through a number of case studies from the early 1950s through the late 1990s. Since the day of its founding, the CCP has placed great emphasis on questions of media and propaganda; after 1949 the party-state has claimed full control of the Chinese print, broadcast, and electronic media. Asking for the reasons behind this claim, I argue that it must be traced back to the Party's desire to bring about the transformation of human consciousness and to create an environment conducive to this process, a utopian project informed as much by the Leninist version of Marxism as by Neo-Confucian ideas of education and state-society relations prevalent in the late imperial era. This project and its underlying fundamental assumptions have survived – in greatly transmuted form – to the present day and continue to inform the strict control of the Chinese media, even when such controls clash with other political and socio-economic interests of the Party-state. I propose to take the media as a variable to measure changes in the CCP's approach to governance. The Party's handling of the media serves as a mirror of state-society relations; consequently, the investigation into the media provides us with information on the CCP's conceptions of governance under changing circumstances. I argue that over the past twenty years, the CCP has successfully altered and reinterpreted its vision of the state and its position therein; it has adopted a more flexible set of methods to achieve its fundamental political objectives. At the same time, however, the ultimate goals of the Party – originally formulated in Yan'an – have changed remarkably little.

Examines the rise of Chinese businesspeople who invested in cultural enterprises in the late 19th and 20th centuries, revealing how rapidly evolving technologies and growing transregional ties created fertile conditions for business success in the cultural sphere

The contributors to New World Orderings demonstrate that China's twenty-first-century rise occurs not only through economics and state politics but equally through the mutual entanglements of overlapping social, economic, and cultural worlds in Southeast Asia, Africa, and Latin America. They show how the Chinese state has sought to reconfigure the nation's position in the world and the centrality of trade, labor, religion, migration, gender, race, and literature to this reconfiguration. Among other topics, the contributors examine China's post-Bandung cultural diplomacy with African nations, how West African "pastor-entrepreneurs" in China interpreted and preached the prosperity doctrine, the diversity of Chinese-Argentine social relations in the soy supply chain, and the ties between China and India within the complex history of inter-Asian exchange and Chinese migration to Southeast Asia. By examining China's long historical relationship with the Global South, this volume presents a non-state-centric history of China that foregrounds the importance of transnational communicative and imaginative worldmaking processes and interactions.Contributors. Andrea Bachner, Luciano Damián Bolinaga, Nellie Chu, Rachel Cypher, Mingwei Huang, T. Tu Huynh, Yu-lin Lee, Ng Kim Chew, Lisa Rofel, Carlos Rojas, Shuang Shen, Derek Sheridan, Nicolai Volland