In 1911, Joseph Bailie, a professor at Nanjing University, often took his Chinese students to tour Nanjing's shantytowns. One student, the son of a district magistrate, followed Bailie from hut to hut one rainy day, and was grateful that Bailie opened his eyes to the poverty in his own city.
However, twenty years later, when M. R. Schafer, another Nanjing University professor, showed his students a film that included his own photographs of the poor quarters of Nanjing, his students were so upset that they demanded his expulsion from China.
Zwia Lipkin explores the reasons for these starkly different reactions. Nanjing in the 1910s was a quiet city compared to 1930s Nanjing, which was by that time the national capital. Nanjing had become a symbol of national authority, aiming not only to become a model of modernization for the rest of China, but also to surpass Paris, London, and Washington. Underlying all of Nanjing's policies was a concern for the capital's image and looks--offensive people were allowed to exist as long as they remained invisible.
Lipkin exposes both the process of social engineering and the ways in which the suppressed reacted to their abuse. Like Professor Schafer's movie, this book puts the poor at the center of the picture, defying efforts to make them invisible.
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总是内容是极好的，但总是套着文艺复兴的伪一神经院的精致框架，你不知我们很尴尬么，幼稚欧罗巴
评分作者过于强调“面子”及民族主义情绪的作用，多政策性的叙述，而对各弱势群体细致深刻的剖析远远不够。
评分总是内容是极好的，但总是套着文艺复兴的伪一神经院的精致框架，你不知我们很尴尬么，幼稚欧罗巴
评分总是内容是极好的，但总是套着文艺复兴的伪一神经院的精致框架，你不知我们很尴尬么，幼稚欧罗巴
评分这本书是不是据说很经典？但平铺直叙地讲了refugees, shantytowns...再套一个social engineering的框框，看得我很。。。厌弃。
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