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| 1 |
ID:
102449
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2010.
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| Summary/Abstract |
This paper examines a lacuna in the literature on foreign direct investment (FDI) flows to China: the absence of analysis for the prominent location of small Caribbean and Pacific islands as leading sources of FDI. An indeterminate amount of domestic capital is embedded in these FDI flows, which distorts comparative studies on FDI in developing economies between China and other states. Direct investment from China has also increased in recent years and offshore financial centres (OFCs) often serve as the initial destinations. This paper excavates the rationales behind the presence of OFCs and suggests that Chinese actors will emulate the practices of developed state multinational corporations and high-net-worth individuals. The implications of these investment practices are outlined along with possible trajectories for their impact on the process of financial liberalisation in China. Consequently, it encourages increased Chinese participation in the development of global financial governance.
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| 2 |
ID:
102448
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| Publication |
2010.
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| Summary/Abstract |
Chinese Protestant Christianity has been continually growing over the past three decades, with an estimated one million converts per year. A number of studies have sought to explain this phenomenon. This paper critically reviews existing studies of China's "Christianity Fever" and then outlines the role of the community as one crucial factor in the conversion process. With its emphasis on communality, as a central element of both Christian theology and the fellowship activities that are part of Christian practice, Protestant Christianity fills a gap opened up by the change in traditional familial and social structures. By discussing specific aspects relating to the communal nature of Christianity, such as familism, elitism, and dynamics at work in face-to-face evangelism, this paper offers an alternative reading of existing studies.
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| 3 |
ID:
102445
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2010.
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| Summary/Abstract |
In late 2009, the television series Woju (??) received extremely high audience ratings in major Chinese cities. Its visual narratives engage the public and comment on social developments by presenting detailed pictures of urban change in Shanghai and the everyday lives of a range of urban characters who are involved in and affected by the urban-restructuring process and represent three distinct social groups: "white-collar" immigrants, low-income local residents, and powerful officials. By analysing the visual narratives of these characters, this article highlights the loss of the city's historical identity and shows how the reorganization of urban space translates into a reallocation of resources, power and prestige among the social groups. The article also shows that Woju repre-sents a new development in literary and television production in the age of the Internet and globalization; its imaginative construct of the city was based on transnational and virtual rather than local and neighbourhood experience. This also testifies to the loss of the city's established identity in cultural production.
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| 4 |
ID:
102447
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| Publication |
2010.
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| Summary/Abstract |
Of the many rural migrant workers who go to Chinese cities as cheap labourers, the one who interacts most intimately with urban residents is the domestic servant. In fact, precisely because of this "intimate stranger" status, the figure of the "maid" has captured the imagination of the urban population. This fascination is evidenced by the plethora of television narratives centring on the fraught relationships between the rural migrant woman and her male employer. This paper analyses a range of television narratives from the genres of dramas and documentaries. It shows that in these narratives, sex functions as the metaphor of social inequality between two social groups. It shows that if we explore how love, romance and marriage are constructed, we may gain some insight into processes of social and ideological contestation in the domain of cultural production.
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| 5 |
ID:
102446
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2010.
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| Summary/Abstract |
This article argues that a certain type of Shanghai film of the Republican period, exemplified by 1937's Street Angel (????, Malu tianshi), makes use of a specific mode of spatial organization, modelled on the theatre, to represent the urban environment. In the case of Street Angel, and later on in 1964's Stage Sisters (????, Wutai jiemei), the interaction between performers and audiences characteristic of the Shanghai theatre experience serves as a crucial ground on which to base calls to political action. For a variety of related reasons, both the city of Shanghai and this mode of spatial organization so closely associated with it vanish from the big screen in the 1980s and 1990s, and begin to make a return only at the turn of the new century.
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| 6 |
ID:
102450
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| Publication |
2010.
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| Summary/Abstract |
Many Chinese and Japanese authorities believe Taiwan is essential to their respective states' national security due to the island's geographic centrality and beneficial proximity to nearby and distant sea lanes. Of further importance is Taiwan's immediacy to territorial and resource disputes between China and Japan. This article focuses on the security concerns and strategies of both states and applies realism, its tenets of defensive and offensive realism, and neoliberalism in order to better comprehend those concerns and strategies and also provide probable solutions.
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