By Meng Yue
Even ahead of the romanticized golden period of Shanghai within the Nineteen Thirties, the famed Asian urban was once extraordinary for its strong point and East-meets-West cosmopolitanism. Meng Yue analyzes a century-long shift of urbanity from China’s heartland to its shore. in the course of the interval among the decline of Jiangnan towns akin to Suzhou and Yangzhou and Shanghai’s early twentieth-century upward thrust, the overlapping cultural edges of a failing chinese language royal order and the encroachment of Western imperialists converged. at the same time appropriating and resisting implementing forces, Shanghai opened itself to unruly, subversive practices, turning into a crucible of creativity and modernism. Calling into query traditional methods of conceptualizing modernity, colonialism, and intercultural kin, Meng Yue examines such cultural practices because the paintings of the economic press, road theater, and literary arts, and indicates that what seem to be minor cultural adjustments frequently sign the presence of bigger political and monetary advancements. attractive theories of modernity and postcolonial and worldwide cultural reports, Meng Yue finds the paradoxical interdependence among imperial and imperialist histories and the retranslation of tradition that characterised the main remarkable results of China’s city relocation—the emergence of the overseas urban of Shanghai. Meng Yue is assistant professor of East Asian languages and literature on the college of California, Irvine.
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Example text
How did the “internal oneness” justify itself? This question points to the very philosophical and historical core of the terms “tong” and “tongfa,” where the cosmological ideal of all things, including the human mind, provides the very possibility of knowing and handling the natural and the manmade world. The word “tong” as a signifier of the cosmological imagination had a long history and a variety of usages. Here I will limit my explanation to the most relevant use of the term by mathematicians and astronomers themselves.
As works they are different, but as products of creativity they are nondividable. It is possible for the human mind to know and to relay all things exactly because they are diverse works of the cosmological principle. Partially informed by this cosmological ideal, tong, or knowing-all, was the practicing principle of astronomers and mathematicians from the eighteenth century on, except that their practice was heavily influenced with philological studies. As Hu Minghui’s work shows, the cultural ideal of the eighteenth century was to be a tongru, or an all-knowing Confucian (Hu Minghui 2002).
The learning of steam engines is to change water to power by fire —which is the principle of manufacturing things with steam boilers. The study of light (optics) is to use glass lenses to control focus—which means the art of lenses and mirrors. The learning of electricity is to understand such phenomena as a magnet attracting a needle or a piece of amber picking up a seed. The learning of geometry is to know the reason why one takes a foot-long measure, every day halves it, and yet it will not be exhausted even in 10,000 lifetimes.