Envisioning an Ideal Christian Family in Republican China

Amid debates and discussions on the institution of the family in Republican China, foreign missionaries and Chinese Christians played an active role in promoting an ideal Christian family. This article investigates the three waves of prominent theological thinking that underpinned changing ideals of the Christian family throughout the Republican period: Chinese society’s encounter with the gendered ethics of the Christian community in the early Republican period, discussions of domesticity by Chinese Christians amid the social gospel movements of the 1920s, and discussions of domesticity during the National Christianizing the Home Movement. An exploration of Christian publications on domesticity points to a gendered perspective on women’s domestic roles as well as a male-dominated theological construct that attempted to reconfigure the notion of the Chinese Christian family. The discourse on the ideal Chinese Christian family had both secular and spiritual dimensions, shaped by the dynamic transnational flow of ideas and the development of local theological thinking.

“Still Holding the Pipa to Hide Half Her Face”: Visions of Bai Juyi’s ‘Song of the Pipa’ in Republican China

A recurring subject of manhua (comics) in Republican-era China was the pipa player, a woman whose genealogy can be traced back to the disgraced and displaced subject of Bai Juyi’s ninth-century poem Pipa xing (Song of the pipa). This paper traces this woman’s development from her conception in Pipa xing and follows her as she is re-imagined by modern poets and manhua artists into a variety of figures, from scorned politicians to modern feminine archetypes. This paper argues that these artists leverage her precarity and anachronism to portray contemporary political turmoil and national insecurity, as they look back at China’s imperial past and towards its uncertain future. And instead of reifying the distinction between the prosody of classical and New Poetry, this paper finds classical poetics not only in poems themselves, but also in tropes and images that reveal how poets and poetry reckoned with the rise of new media.

Introduction

The Introduction situates the book’s approach to comparative literature in relation to recent debates in the field over the status of “world literature.” It historicizes the notion of world literature in terms of the global disciplinary history of literary studies, contextualizing redefinitions of literature and efforts to write literary modernity in terms of connected yet heterogeneous epistemic shifts in eighteenth-century Europe and early twentieth-century China. It introduces the design of the book and offers chapter summaries. And it explains how efforts to write literary modernity in the asynchronous periods of Romantic England and Republican China constitute experiments also with new socio-political forms of life in different cultural contexts.