In general, “development” denotes movement or growth toward something better in the future. International development—widespread in the decades following World War II—was an effort at purposeful changein landscapes around the world. Contributors to this volume argue that these projects constituted an effort to transplant modernity, such as knowledge or technology, from places seen as more developed to places perceived as un- or underdeveloped. During its heyday, international development included not just dams, roads, health programs, and agricultural projects but also animal husbandry schemes, urban development, and wildlife protection plans. Projects often succeeded or failed because of existing environmental conditions, and in turn, these programs remade—or tried to remake—the land, water, wildlife, and people around them. From American-directed failures in water engineering in Afghanistan to the impact of livestock epidemics on economic growth in East Africa, the chapters in Transplanting Modernity question how science, technology, and faith in Western notions of progress have influenced the pace, scope, and scale of development.

This dissertation explores how modern journalism took shape in "semi-colonial" China in the early twentieth century, with a focus on the influence of the American model of professional journalism. This work presents a methodological model that combines discourse analysis and social network analysis. Discourse analysis shows how early Chinese Confucian-liberal intellectuals seized upon, and selectively drew upon, American ideas of journalistic professionalism in the larger quest of national modernization. Social network analysis examines the roles played by the complex networks and interactions among intellectuals, educators, and journalists from China and the United States in the introduction of the American model of journalism. Situating the cultural transfer in China's semi-colonial condition and its urge for modernization, this project reveals how the colonial encounters created American-inspired but distinctly indigenous notions of modern journalism in early twentieth-century China.

Organ transplant in Mexico is overwhelmingly a family matter, utterly dependent on kidneys from living relatives—not from stranger donors typical elsewhere. Yet Mexican transplant is also a public affair that is proudly performed primarily in state-run hospitals. In Domesticating Organ Transplant, Megan Crowley-Matoka examines the intimate dynamics and complex politics of kidney transplant, drawing on extensive fieldwork with patients, families, medical professionals, and government and religious leaders in Guadalajara. Weaving together haunting stories and sometimes surprising statistics culled from hundreds of transplant cases, she offers nuanced insight into the way iconic notions about mothers, miracles, and mestizos shape how some lives are saved and others are risked through transplantation. Crowley-Matoka argues that as familial donors render transplant culturally familiar, this fraught form of medicine is deeply enabled in Mexico by its domestication as both private matter of home and proud product of the nation. Analyzing the everyday effects of transplant’s own iconic power as an intervention that exemplifies medicine’s death-defying promise and commodifying perils, Crowley-Matoka illuminates how embodied experience, clinical practice, and national identity produce one another.

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

Ingmar Bergman's films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman's relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman's critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman's films illustrate the demonic struggle in modernity between faith and secularity through "his intense preoccupation with the malaise of intimacy."

Offering an entirely new approach to understanding China’s journalism history, this book covers the Chinese periodical press in the first half of the twentieth century. By focusing on five cases, either occurring in or in relation to the year 1917, this book emphasizes the protean nature of the newspaper and seeks to challenge a press historiography which suggests modern Chinese newspapers were produced and consumed with clear agendas of popularizing enlightenment, modernist, and revolutionary concepts. Instead, this book contends that such a historiography, which is premised on the classification of newspapers along the lines of their functions, overlooks the opaqueness of the Chinese press in the early twentieth century. Analyzing modern Chinese history through the lens of the newspaper, this book presents an interdisciplinary and international approach to studying mass communications. As such, this book will be useful to students and scholars of Chinese history, journalism, and Asian Studies more generally.

This book offers an in-depth account of social media, journalism and collective memory through a five-year analysis of Weibo, a leading Chinese micro-blogging platform, and prism of transitional China in a globalizing world. How does society remember public events in the rapidly changing age of social media? Eileen Le Han examines how various kinds of public events are shared, debated, and their historical significance and worthiness of remembrance highlighted on Weibo. Journalism plays a significant part in mobilizing collective remembering of these events, in a society with rapidly changing topics on the platform, the tightening state control, and nationalism on the rise. The first five years of Weibo reflect a dramatic change in Chinese society, where journalists, media professionals, and opinion leaders in other fields of expertise, together with ordinary citizens directly affected by these changes in everyday life collaborate to witness the rapid social transition.