Through a detailed study of the process as it took place in Chengdu, a key provincial capital in the interior, this book shows how urban reformers sought to remake Chinese cities by promoting a new type of orderly and productive urban community in population centers that before had been treated mainly as hubs for trade and seats of central government"--BOOK JACKET.

This work examines the history of urban planning and administration during modern China's first age of city-centered politics, focusing on the New Policies of the late Qing and the city administration movement of the 1920s. Between 1895 and 1937, the management of cities emerged as one of the chief challenges for the Chinese state. Through a detailed case study, based on newly available archival sources, of the process of urban reform in Chengdu, a key provincial capital in the interior, Kristin Stapleton shows how urban reformers permanently changed urban administration, the urban landscape, and urban life by promoting a new type of orderly and productive community in population centers despite the many upheavals of the late Qing and Republican eras.

A study of the lively street culture in Chengdu from 1870 to 1930, this book explores the relationship between urban commoners and public space, the role of community and neighborhood in public life, and how the reform movement and Republican revolution transformed everyday life in this inland city.

Historical novels can be windows into other cultures and eras, but it's not always clear what's fact and what's fiction. Thousands have read Ba Jin's influential novel Family, but few realize how much he shaped his depiction of 1920s China to suit his story and his politics. In Fact in Fiction, Kristin Stapleton puts Ba Jin's bestseller into full historical context, both to illustrate how it successfully portrays human experiences during the 1920s and to reveal its historical distortions. Stapleton's attention to historical evidence and clear prose that directly addresses themes and characters from Family create a book that scholars, students, and general readers will enjoy. She focuses on Chengdu, China, Ba Jin's birthplace and the setting for Family, which was also a cultural and political center of western China. The city's richly preserved archives allow Stapleton to create an intimate portrait of a city that seemed far from the center of national politics of the day but clearly felt the forces of—and contributed to—the turbulent stream of Chinese history.

Engaged with the paradigms of cultural geography, local history, spatial politics, and everyday life, The Lost Geopoetic Horizon of Li Jieren unveils a Sichuan writer’s lifelong quest: an independent historical fiction writing project on Chengdu from the turn of the century through China’s 1911 Revolution. Kenny Kwok-kwan Ng's study illuminates the crisis of writing home in a globalized age by rescuing Li Jieren’s repeatedly revised but never finished river-novel series written from Republican to Communist China, struggling to liberate local memory from the national cum revolutionary currents. The book undercuts official historiography and rewrites Chinese literary history from the ground up by highlighting Li’s resilient geopoetics of writing that decenters the nation by adopting the place-based view of a distant province.

The centre may hold, but borders can fray. Frontier Fieldwork explores the work of social scientists, agriculturists, photographers, and missionaries who took to the field in China’s southwest at a time when foreign political powers were contesting China’s claims over its frontiers. In the early twentieth century, when the threat of imperialism loomed large in the Sino-Tibetan borderlands, these fieldworkers undertook a nation-building exercise to unite a disparate, multi-ethnic population. Andres Rodriguez exposes the transformative power of the fieldworkers’ efforts, which placed China’s margins at the centre of its nation-making process and race to modernity.

Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profoundtransformation of modern Chinese culture between the 18th century and 1950s.