Daria Berg

This article focuses on female editorship and sexual politics in late Ming and early Qing China, using Hua suo shi, an anthology edited by the courtesan poet Xue Susu, as a case study. It traces textual production and transmission, and reconstructs the literary and cultural contexts of this work to explore the courtesan’s editorial gaze and representation of gender through a close reading of it. The analysis of its two main themes—women as commodities, and women as agents—shows how the courtesan editor re-imagined China’s cultural landscape from her point of view. New examples of female agency are discovered in analyzing the cultural process of editing as a “web of discourses,” providing a window on the emergence of a new female editorial voice in early modern China’s cultural discourse.

In the ‘society of the spectacle', according to Guy Debord, ‘smug acceptance of what exists can also merge with purely spectacular rebellion' and dissatisfaction itself becomes a commodity. Drawing on his reflections on celebrity and the spectacle, this article analyses the highly popular blog of novelist and racing car driver Han Han (born 1982). By doing so, it explores the relation between Han Han's celebrity and his voice as a social critic. The analysis focuses on how Han Han's blog thrives on the combination of his celebrity status and Everyman image; how it contrasts ‘anti-intellectualism' in the tradition of Wang Shuo (born 1958) with elements of literati ideology including moderate loyal criticism and cultural nationalism; and how it negotiates the tension between commercial spectacle and the expression of sociopolitical concerns. The article also argues that unlike citizen journalism, Han Han's blog relies on editorial commentary on hot topics and acts as a ‘safety valve' blog. This article aims to contribute to understanding the rise in China's cybersphere of a celebrity who merges the images of rebel, opinion leader and cultural entrepreneur.

This article investigates artist and activist Ai Weiwei's media politics. In 1997 Ai Weiwei imagined a modernist movement that would practise a "non- compromising vigilance on society and power" and since 2005 he has embraced blogging and micro-blogging to enact such intent. We argue that his "communi- cation activism" is part of a broader artistic and political program that long pre- dates his online presence. The study examines how the artist has experimented with blogging and micro-blogging to spread his message of "awakening" in defi- ance of censorship and surveillance. It shows how Ai Weiwei's communication strategy combines an international celebrity status, criticism, irony and a round- the-clock interaction with his netizen audience and the media. It also critiques the effectiveness and coherence of this mode of activism from two perspectives - namely, Jean Baudrillard's analysis of "private telematics" and Jodi Dean's "blog theory" - and finally assesses its impact. The study aims to enhance our understanding of the web-based communication strategies of Chinese activists, shedding light on cultural production and consumption in Chinese cyberspace as a socio-political barometer.

Daria Berg's study offers a cultural reading of the web-based reality show Soul Partners (2007) from Shanghai. Soul Partners serves as a case study to explore how 21st-century Chinese cultural discourse debates the transformation of urban society in China, providing insight into the Chinese cultural imagination, perceptions of the globalizing metropolis and the impact of consumer culture. This reading positions Soul Partners within the discursive context of Chinese popular, postmodern and post- socialist culture and in relation to the cultural import of the reality show genre into China's mediasphere. Analysis focuses on the quest for authen- ticity in the Chinese discourse on perceived reality and the way Soul Partners generates new urban dreams for China's Generation X. The analy- sis of Soul Partners sheds new light on the dynamics of transcultural appro- priation in a globalizing China and the social and political implications.

This paper investigates perceptions of courtesans, gender and power from various perspectives, using both literary and non-literary sources and reconstructed lost books. Analysis focuses on representations of the celebrated courtesan, poet and painter Xue Susu (fl. 1575-before 1652) by writers of different backgrounds, gender and class. In late Ming times women participated in elite culture in unprecedented numbers. Courtesans gained prominence in the literati arts, playing a formative role in shaping cultural ideals. Late imperial Chinese discourse embeds the image of the courtesan in the formation of new beauty ideals and social negotiations of gender roles and power. Paradoxes abound, linking the courtesan with notions of chivalry, chastity and loyalism and depicting her in the context of national politics and warfare. The Ming/Qing texts reflect not only current perceptions of women and courtesans, but also the social and cultural aspirations, dreams, anxieties and desires of their authors.