In the midst of ChinaÕs wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this Òtreaty portÓ from the Western world. A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of ShanghaiÕs urban landscapeÑforeign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.

"In vivid detail... examines the little-known history of two extraordinary dynasties."--The Boston Globe "Not just a brilliant, well-researched, and highly readable book about China's past, it also reveals the contingencies and ironic twists of fate in China's modern history."--LA Review of Books An epic, multigenerational story of two rival dynasties who flourished in Shanghai and Hong Kong as twentieth-century China surged into the modern era, from the Pulitzer Prize-winning journalist The Sassoons and the Kadoories stood astride Chinese business and politics for more than one hundred seventy-five years, profiting from the Opium Wars; surviving Japanese occupation; courting Chiang Kai-shek; and nearly losing everything as the Communists swept into power. Jonathan Kaufman tells the remarkable history of how these families ignited an economic boom and opened China to the world, but remained blind to the country's deep inequality and to the political turmoil on their doorsteps. In a story stretching from Baghdad to Hong Kong to Shanghai to London, Kaufman enters the lives and minds of these ambitious men and women to forge a tale of opium smuggling, family rivalry, political intrigue, and survival.

An innovative study of colonialism in China, examining Shanghai's International Settlement as the site of key developments in the Republican period.

"What a fine and illuminating book! Shanghai Splendor is an important and captivating work of scholarship."—David Strand, author of Rickshaw Beijing: City People and Politics in the 1920s "This in an outstanding work. Although Shanghai has been among the most popular subjects for scholars in modern Chinese studies, one has yet to see a project as impressive as this. Yeh tells a most fascinating story."—David Der-wei Wang, author of The Monster That Is History: History, Violence, and Fictional Writing in 20th Century China

As the center of capitalism in China, Shanghai banking provides a unique perspective for assessing the impact of the changes from financial capitalism to socialist planning banking in the early 1950s, and for evaluating the reform of China's banking system since the 1980s. This book offers a comprehensive history of Shanghai banking and capital markets from 1842 to 1952, and illustrates the non-financial elements that contributed to the revolutionary social and financial changes since the 1950s, as well as financial experiences that are significant to China's economic development today. The book describes the rise and fall of China's traditional native banks, the establishment of foreign banks, and the creation of modern state banks, while focusing on the colorful world of banking, finance, and international relations in modern Shanghai. It assesses the Chinese government's intervention in banking and finance during the Qing dynasty and the Republican era, as well as the concept of state capitalism after the establishment of the People's Republic. The author examines various modern-style Chinese banks through fascinating stories of Shanghai bankers. In addition, she provides detailed coverage of market-oriented international trade, banking associations, the conflicts between state and society, the government involvement in business, the management of foreign exchange, joint venture banks, wartime banking and finance, hyperinflation, corruption, and banking nationalization.

Shanghai has long been considered a gateway to the world, and so it's no surprise that its cuisine, with a distinctive blend of Asian and European influences, is beloved among foodies far and wide. In this impressive collection of more than 50 sophisticated yet easy-to-prepare dishes, Shanghai native and culinary expert Richard Wong shares his family recipes that have been updated for the modern table. This amazing cookbook satisfies savory, sweet, or spicy cravings with inspiring recipes like Shanghai Slow-Cooked Chicken, Sweet SoySauced Broccolini, and Spicy Shrimp Chow Mein. Included is a section on stocking a Shanghai pantry with all the essentials for preparing quick, flavorful meals. And with a chapter dedicated to making robust sauces tailored to complement any dish, Modern Asian Flavors is the ultimate passport for a delicious adventure.

In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.