This book argues that modernity first arrived in late nineteenth-century Shanghai via a new spatial configuration. This city’s colonial capitalist development ruptured the traditional configuration of self-contained households; towns; and natural landscapes in a continuous spread; producing a new set of fragmented as well as fluid spaces. In this process; Chinese sojourners actively appropriated new concepts and technology rather than passively responding to Western influences. Liang maps the spatial and material existence of these transient people and reconstructs a cultural geography that spreads from the interior to the neighbourhood and public spaces. In this book the author:discusses the courtesan house as a? surrogate home and analyzes its business; gender; and material configurations; examines a new type of residential neighbourhood and shows how its innovative spatial arrangements transformed the traditional social order and hierarchy; surveys a range of public spaces and highlights the mythic perceptions of industrial marvels; the adaptations of colonial spatial types; the emergence of an urban public; and the spatial fluidity between elites and masses. Through reading contemporaneous literary and visual sources; the book charts a hybrid modern development that stands in contrast to the positivist conception of modern progress. As such it will be a provocative read for scholars of Chinese cultural and architectural history.
#350297 in eBooks 2010-09-28 2010-09-28File Name: B003SNJL60
Review
0 of 2 people found the following review helpful. Great book!By PatThis book so far has been a great read. Once again Alex Ross takes the reader beyond the music and words and bring us to a new level of understanding about music. he really opens us to many different generas of music that i have not listen to until reading this book. recommend reading. for music majors and for anyone that loves music1 of 4 people found the following review helpful. Good gift. hopefully.By Twins RockThis was for my husbands birthday as he loves music in any kinds. I cant really say about the book because of this reason besides he seems to like it.56 of 57 people found the following review helpful. Read this!By Christopher CostabileFrom the first chapter of his second book. LISTEN TO THIS. in which he recounts how Beethovens "Eroica" symphony inspired a lifelong love of music in him - to the last in which he details the pathos lingering throughout the work of Johannes Brahms - Alex Ross cements his reputation as perhaps the most dynamic writer on music today. His first outing. THE REST IS NOISE. has become an international bestseller and established itself as THE premiere survey on twentieth century classical music - an obtuse subject effortlessly broken down and made accessible by Rosss seamless prose and clear narrative structure.LISTEN TO THIS proves to be far more episodic than THE REST IS NOISE. In contrast to that books linear chronology. LISTEN TO THIS is simply a collection of essays on various musical subjects. most of which have already been published in Rosss primary meal ticket. THE NEW YORKER magazine. But LISTEN TO THIS is no less riveting. as Rosss engaging writing is by turns emotional (the sentimental chapter on Lorraine Hunt Lieberson). intelligent (he chronicles the entire musical history of a particular walking bass line in chapter two) and funny (the many on-campus scenes he depicts involving Marlboro College in "The Music Mountain"). Also. since it includes chapters on a wide variety of musicians. from Mozart to Dylan to Bjork to contemporary Chinese classical composers. LISTEN TO THIS truly does have "something for everyone." and reading through all of the essays is a great way to expose yourself to new music in which you may not have had any prior interest. Personally. I was less than enthused about reading the chapters on Schubert and Brahms. for example. but after making my way through them - which I ultimately considered more of a joy than a chore - I found myself researching more historical facts and seeking out samples of their music. It is a testament to Rosss skills as a writer that he has long been inspiring this effect in many of his readers. Dont be surprised if you pick up a Marian Anderson record or develop a sudden peculiar liking for obscure Chinese composer Qigang Chen after reading this book! Ross even makes it easy on us by providing a "suggested listening" section on each chapter. in which he recommends a slew of recordings.Ross isnt without his flaws. however: he is far more comfortable when covering classical subjects than pop or rock. as evinced by the rather bland chapter on Radiohead (though he fares better with Bjork. weaving comparisons of her music to the Icelandic classical tradition throughout that chapter). Also. the chapter "Edges of Pop" is without any real thesis - only offering brief glimpses at a small smorgasbord of oddball musical artists.Regardless. anyone with even a remote interest in classical or rock music would be hard pressed not to find inspiration and insight in LISTEN TO THIS. Alex Rosss devout love of music bleeds off of every page. without fail. directly into the heart of the reader.
