316 index liumin tu 流民圖 (tradition of paintings of refugees), 212, 221, 284n35 Lu You: poetic landscapes in Du Fu’s poetry compared with their physical spaces by, 72, 73–74; search for the status of Du Fu’s three Kuizhou Lofty Retreats, 67–68, 165 Luo Jinshen, 114f3.9, 115, 120–21 Mao Zedong: Cultural Revolution launched by, xiv–v; and the dam as a technological “solution” (shuofa), 220–21; depiction on propaganda posters, 180–83, 182ff5.10–5.11, 193; and the “grand plan” (hongtu) of socialist construction, 42–43, 93–94, 167; and Jia Zhangke’s Still Life, 171– 73, 172f5.2, 186; quote proclaiming “the people are like water and the army is like fish,” 219–20; slogans associated with his “war on nature,” 43, 173. See also “Swimming” McNeal, Robin, 36–38, 251n35 Mennie, Donald, 133, 134ff4.1–4.2 mists: as a “poetic signifier” for hiddenness, 32; and the changeable nature of the Gorges, 12–13, 239–40; clouds and rains, 10, 42, 50, 54, 76, 83, 84, 85; “scudding clouds” as manifestations of the goddess of Mt. Wu, 83 Mitchell, W. J. T., 15 Monk’s Retreat (Ji), 209, 210f6.7, 229–30, 230–31f6.18, 231, 233ff6.20–6.21 Morgan, Daniel, 277n7 Morrison, Robert, 121 Morton, Timothy, 20 Mt. Wu, and its goddess: “clouds and rain of Mt. Wu” (Wushan yunyu), 80, 84; and Fan Chengda’s preface to Song Yu’s “Gaotang Rhapsody,” 74, 76; the goddess’s origins in local cults, 259–60n56; “How High Mt. Wu” poems, 76, 78, 84, 261n65; Li Bai on, 76, 260n63; and Mao Zedong’s “Swimming,” 84–85, 166, 171; and the Neo-Confucian distinction between humans and spirits, 75; in painting, 80–84; Shu Shi’s description in “Mt Wu,” 254n71; Yaoji identified as a Daoist goddess by Du Guangting, 75; Yaoji’s role in helping Yu the Great, 78–79. See also “Gaotang Rhapsody” Nixon, Rob, 9 Ortiz, Valérie Malenfer, 213 Owen, Stephen, 15, 32, 35, 254n69 Plant Memorial, 40, 41f1.4, 235–36 Plant, S. Cornell: appropriation and adaptation of his charts, 115, 119; charting of the Yangzi Gorges, 40, 109–10, 111, 112f3.8, 113 Porter, Bill (Red Pine), 73, 165 Powers, Martin, 15 Pratt, Mary Louise, 99, 153–54 Qianlong, imaginary itinerary of, inspired by The Shu River handscroll, 57, 59–65, 71, 84, 238 qimo 氣脈 (energy arteries): and traditional painting criticism, 214; and Yun-fei Ji’s perceptible sense of receding space and depth, 216, 226, 227 Qing dynasty: charts of the Upper Yangzi, 114, 266n47; establishment of
index 317 Chongqing as a treaty port, 109–10; increase in the size of ships and volume of cargo transported on the Yangzi, 249n15; Maritime Customs, 111, 265n39; Qianlong’s imaginary itinerary inspired by The Shu River, 57, 59–65, 71, 84, 238; search for natural resources as part of economic and infrastructural development, 16–17, 98, 245n31, 246n32, 268–69n74; Tianjin Treaty and the establishment of Chinkiang as a treaty port, 98, 101, 109, 264n27. See also Critical Chart; Essential Guide and Critical Chart Qutang Gorge: Du Fu’s “At Qutang Contemplating the Past,” 45–46, 50, 252n53; Du Fu’s “At Qutang Yearning for the Past,” 48–49, 51; Du Fu’s “The Two Palisades of Qutang,” 10–11, 45–47; geographical location and status of, 4, 8f1.2, 11–12, 46; on The Shu River handscroll, 57, 58–59f2.1 Rabinbach, Anson, 142 racial landscape of the Three Gorges: and Chineseness expressed in Mao’s “Swimming,” 87; and dissection and vivisection in orientalist and colonialist discourse, 140–41, 145, 156, 273n50; and modes of labor, 104, 137–43, 155–56; and notions of Chinese racial difference, 98–99, 139–43, 148, 270n10; and touristic fantasies, 123, 131–32, 136 Repin, Ilya, 270n7 Savage, John, xiv, 94, 96f3.1, 148 Scarry, Elaine, 230–33, 285n46 Schafer, Edward H., 259–60, 260n63 “Setting Out at Dawn from Baidicheng” (Li Bai): and “Du Fu’s Autumn Stirrings, Poem Two,” 31–33; and the fixing of the Three Gorges as a Chinese landscape in the cultural imaginary, 1–4, 7, 165, 197; and Jia Zhangke’s Still Life, 167; and Old Pebble’s work song in A Single Pebble, 160–62; recitation in the middle of the Gorges, 1–4, 7 shanshui 山水: and art historical and literary scholarship, 14–15; as a spatial organizing principle in premodern poetry, 14; conventionalized forms associated with it, 128; Northern Song monumental mode of, 211–14, 216, 283n22; and subjective experience, 15, 120–21. See also Critical Chart; Essential Guide and Critical Chart; The Shu River handscroll; Updated Compendium shengji 勝跡 (landmarks, famous sites): contrasted with guji (ancient traces), 61, 237; depiction on a ten-yuan banknote, 13f1.4, 171–73, 172f5.3, 239; and the traces of the past in Du Fu’s poetry, 28, 62–63, 65; and xiandi research, 63 shi 實 (real, substantive), 32–33, 43–45; as referring to something “truly” or “actually” witnessed, 32, 250n24. See also xu (empty, unfounded, imagined) shiyi 詩意 (poetic intention): and Ding Guanpeng’s illustration of the final couplet of Du Fu’s second “Autumn Stirrings” poem, 63–64, 64f2.3; and Jia Zhangke’s Still Life, 276n4
318 index The Shu River handscroll (Shuchuan tu): Ding Guanpeng’s image at the end of the colophons on, 63–65, 64f2.3, 180, 256n20; labeling of sites on, 57, 58–59f2.1, 60f2.2; Qianlong’s imaginary itinerary inspired by, 57, 59–65, 71, 84, 238; and Qing and early Republican charts compared with, 114–15, 120; Wu Gorge depicted on, 8l, 81f2.4 Shujing zhu (Commentary to the Classic of Rivers) (Li Daoyuan): and the inscriptional landscape tradition, 129, 212, 267n63; song about crying gibbons in, 2–3, 32, 242n4, 269–70n4 Silverman, Kaja, 282n5 “Singing My Feelings on Traces of the Past” (Du Fu), 28, 49–53, 54, 62, 74, 248n8, 253n64 A Single Pebble (Hersey), 158, 275n81; as an allegory of national difference, 148; and the appropriation of native ways of seeing, 150–51, 154; image of the tracker in, 148–49, 154–56, 160; Old Pebble’s work song in, 160–61 Smith, Arthur H., and Chinese Characteristics: Chinese difference asserted in, 140–41; on dissection, 140, 145, 273n50; on trackers, 141, 142–43 Soja, Edward, 15 Song Yu, 29; location of his house, 50–53, 254nn68–69; and the Songs of Chu, 50, 52, 261n68. See also “Gaotang Rhapsody” Spurr, David, 145–46 steamships on the Yangzi: and Cornell Plant’s charting of the Yangzi Gorges, 40, 109, 109, 111, 112f3.8, 113–15; junk traffic on, 113, 116, 133, 134f4.1, 135–36, 135f4.1, 148, 149, 151, 270n9; and the Tianjin Treaty and the establishment of Chinkiang as a treaty port, 98, 101, 109–10, 264n27; Yangtsze Rapid Steamship Co. advertisement, 122, 123f3.14, 124, 128, 133, 135, 135f4.3, 136, 159 Still Life (Sanxia haoren) (Jia Zhangke): Baidicheng in, 2, 4, 166, 166f5.1; and Bertolt Brecht’s play The Good Person of Sichuan, 276n3; empathy with the living bodies of the Three Gorges migrants, 167–69; environmental impact of the dam project documented by, 183, 184f5.12, 280n32; factories as images of socialist failure in, 193, 194f5.22, 195f5.23; Han Sanming’s placement before Kuimen in, 166–69, 166f5.1, 172ff5.2–5.3; and the image of the body at work, 183–84; as a monument to the migrants of the Three Gorges, 169–70, 184–88, 187f5.17, 280n34; orblike UFO in, 170, 186, 191–93, 192f5.19; popular songs in, 190–92, 193, 196, 281n40, 281n42; as a record of the traces no longer there, 168–71; reimagining of what it means to see the Three Gorges as a “Chinese landscape,” 4, 168–71, 196–97; scenes of demolition, 179–80, 179ff5.8–5.9, 223, 223f6.13; scenes revolving around hard currency, 166f5.1, 167, 171–73, 172ff5.2–5.3, 183, 188, 197, 278n18; and shiyi (poetic conception), 276n4 Stoler, Ann Laura, 5, 246–47n41 Sun Yat-sen: Chinese labor viewed as an obstacle to national development,
index 319 127, 156–58; and the dam as a technological “solution” (shuofa), xiii– xiv, 220–21; “Three Principles of the People” (Sanmin zhuyi), xiv “Swimming” (Youyong) (Mao): ci (lyric) poetic idiom of, 85; expression of Chineseness defined in, 84–87, 129; goddess of Mt. Wu from, 84–85, 166, 171; vision of spatial reorganization in, xiv, 42, 85–87, 93, 181 sympathy discourse: and Bird’s view of trackers, 143–47, 156, 168, 169, 201–2, 230, 272n28, 273n39, 274n55, 274n59; and liumin tu (tradition of paintings of refugees), 212, 221, 284n35; and the shared humanity of trackers also described as “less than human animal,” 143; and the suffering of the present in relation to the people and spaces of the past, 146–47; and the symbolic Chinese body, 146. See also trauma Tan Wenxing, 62 techno-poetic landscape, 247n48; and the cultural landscape of the Three Gorges, 19–22, 25–26, 236–37; and the figure of the Chinese tracker in the Yangtsze Rapid Steamship Co. advertisement, 123f3.14, 133, 135, 135f4.3, 158–59; Hersey’s appropriation of Li Bai’s “Setting Out at Dawn from Baidicheng,” 161–62; and landscape as a form of framing and enframing, 128; and Mao Zedong’s “Swimming,” 84–87 Ten Thousand Li of the Yangzi River (Cherney), 238–39fIV.1, 238–40 Thomson, John, 126 Thornber, Karen, 20 Three Gorges, as a literary landscape, 3–4, 29, 236; and the creation and contestation of Chinese traditions, 5–7, 10–12; and the discourse of endangerment, 20, 130–32; and ji (trace), 19, 26–27, 46–47, 236–37; reinscription as Chinese landscapes, 108–10, 117–21. See also inscriptional landscape tradition; “Setting Out at Dawn from Baidicheng” Three Gorges, before the construction of the dam, 2; as an obstacle, 99; as a sublime “land of pre-history,” 149–50, 150f4.4 Three Gorges Dam: construction initiated on, xv; extent of, 7–9, 8f1.2, 10–11f1.3; landslides resulting from, 183, 184f5.12, 280n32; linking of “dam” with the geographical designation “Three Gorges,” 9; massive internal migration resulting from, 167–71, 202, 213–14, 216–23, 226, 228–29, 234; as a monument to the imperialistmodernist exploitation of nature, 16–17, 42, 129, 149, 157, 236–38; opposition to, 8, 242n9; tourism in the reservoir of, 1–4 Three Gorges Dam Migration Scroll (Ji), 216–17f6.9; consumer goods and domestic objects featured in, 217, 218ff6.10–6.11; and displacement and alienation, 219–20, 219f6.12; and Jiang Zhaohe’s Refugees handscroll, 283n25; and the liumin tu (tradition of paintings of refugees), 221; and the panoramic temporality of the handscroll format, 217; title of, 284n32
320 index Through the Yang-tse Gorges (Little): on Chinese superstition, 151–52, 155; on mining in Sichuan, 269n78; and the textual and graphic reinscription of the Upper Yangzi, 108–9, 108f3.7; on the tracker, 130, 139, 143; and the Updated Compendium, 119 tourism: Blakiston’s map as an image of the natural world as object of touristic consumption, 124–25; Chinese travel accounts in the Republican era, 267n63; Three Gorges Dam reservoir as a destination of, 1–4, 196; and travelers on the middle and Upper Yangzi in 1931, 122; travel poster for Butterfield & Swire, 122, 123f3.13. See also steamships on the Yangzi; travel writing; youji (travel diary, essay) trace. See ji (trace) trackers: assimilation of native ways of seeing of, 141–42, 150–53; Chinese words for, 269n3; and the discourse of endangerment, 20, 130–33; haozi (work songs) of, 131, 141–42, 269– 70n4, 272–73n38, 273n39; and images of penetration in colonial discourse, 145–46, 268n69; Isabella Bird on, 143– 47, 156, 168, 169, 201–2, 230, 272n36, 273n39; as a limit case for what it means to be human, 139–40, 146, 149, 154–58; and literati representations of the Three Gorges, 131, 158–59, 269–70n4; as a post-Revolution-era symbol of proletarian fortitude, 270n7; and racially divided modes of labor, 104, 136–43; self-imaging of, 141–42; work of, 135–37, 143–44, 156, 160. See also A Single Pebble trauma: Freudian model of, 201, 207–8; retrospective pull of, 282–83n15; and scholarly views of empathy, 282n5; suffering of Chinese laborers, 146–47, 276–77n6 travel writing: 55, 66, 72, 132, 154, 257n24. See also Bird, Isabella; Little, Archibald; Mennie, Donald; steamships on the Yangzi; Through the Yang-tse Gorges; tourism; The Yangtsze and Its Problems; youji (travel diary, essay) “The Two Palisades of Qutang” (Du Fu), 10–11, 45–47 Updated Compendium of Illustrated Guides to the Yangzi in Sichuan (compilation by Yang Baoshan), 119; Guo Zhonshun’s preface to, 119; and the reinscription of the Yangzi and its gorges as a Chinese landscapes, 117–20, 117f3.11, 118f3.12, 121 Varsano, Paula, 15, 32, 34 Volk, Gregory, 282n13 von Glahn, Richard, 44 Wang, Ban, 85, 181 ways of seeing: assimilation of native ways of seeing of, 141–42, 150–53; and the experience of viewing a traditional handscroll evoked by Jia Zhangke, 170, 189–90, 197; and the experience of viewing a traditional handscroll evoked by Yun-fei Ji, 219; and Jia Zhangke’s mode of viewing, 169–76, 277n11; and landscape as a way to frame the world it seeks
index 321 to possess, 124–25, 128, 150–51; techno-poetics, 19–21; and YunFei Ji’s acknowledgment of the physical and psychic experiences of displacement, 214, 219–20, 226. See also aesthetic systems; Chinese aesthetic thought; imperial view of landscape; inscriptional landscape tradition; Jia Zhangke’s visual system; landscape representation; landscape representation and the production of space; techno-poetic landscape White Crane Ridge (Baiheliang): ancient carvings of fish and inscriptions at, 40–42, 224–25; underwater museum at, 42, 131, 235–36 White, Richard, 98, 247n48 Winichakul, Thongchai, 113 Woodhead, H. G. W. See The Yangtsze and Its Problems Worster, Donald, 125 “Writing My Feelings While Travelling at Night” (Du Fu), 48, 51 Wuchuan lu (Record of a Wu Boat) (Fan Chengda), 66, 78–80, 83 Wu Gorge, 3, 30; on Clouds and Waves in the [Yangzi] Gorge of Wushan hangingscroll painting, 80, 82f2.5; and Du Fu’s Lofty Retreats at Dongtun, 56; on The Shu River handscroll, 8l, 81f2.4; Song Yu’s Yang Terrace located in, 51; and the tradition of “Mt. Wu paintings” (Wushan tu) paintings, 80, 83, 238–39. See also Mt. Wu, and its goddess Wu Hung, 26, 61, 70, 221, 280n37, 284n35 Wu, Shellen Xiao, 98, 245n31 Wu Wenguang, 276n6 xiandi 現地 (current site) research: on Du Fu, 72, 256n14, 256n16; and the spatial logic of “famous sites” (shengji), 63. See also Du Fu Kuizhoushi xiandi yanjiu xing 興 (stirring): and Du Fu’s “Autumn Stirrings” (qiuxing), 34–35, 250n31; as one of the Six Principles (liuyi) in the “Great Preface” (daxu) of the Book of Odes, 34–35; and Yu Xie’s “resurrecting” of Du Fu’s Dongtun lofty retreat, 70–71 xu 虛 (empty, unfounded, imagined), 18, 32–33 xu 墟 (mound, ruin), 70, 258n33 Xuanzong emperor, 28, 29, 248–49n12 Yaeger, Patricia, 20 The Yangtsze and Its Problems (Woodhead), 267n63; Chinese people likened to animals in, 135–36, 270n10; Yangtsze Rapid Steamship Co. advertisement from, 122, 123f3.14, 124, 133, 135, 135f4.3 Yee, Cordell, 120 Yip, Frances, 190–93, 195–96, 281n40 youji 遊記 (travel diary, essay), 55, 65–67, 257nn24–25; See also Wuchuan lu (Record of a Wu Boat) Yu Xie, and Li Xiang’s reconstruction of Du Fu’s Lofty Retreat, 68–73 Yu Xin, 52, 253n64, 254n74 Yuefu shiji (compiled by Guo Maoqian), 76, 261n64 “Yu’s Shrine” (Du Fu), 43–48
322 index Yu the Great: as a Confucian exemplar, 44, 251n33; Du Fu on his power, 47–49; flood control by, 36, 251n34; “gait of Yu” (Yubu), 48, 253n59; landmarks associated with his feats on The Shu River handscroll, 60, 65; Three Gorges mytho-historically created by, 18, 21, 36, 78; traced in Du Fu’s “Yu’s Shrine,” 43–48 Yu the Great Mythology Park (Dayu shenhuayuan), 36–42, 84, 131, 183, 188, 236; Plant Memorial contrasted with, 40 Zhuangzi, image of the “Potter’s Wheel” (taojun) in, 45, 46, 252n54 Zhu Mu, 65
Studies of the Weatherhead East Asian Institute, Columbia University Selected Titles (Complete list at: http://www.columbia.edu/weai.columbia.edu/publications/studies-weai/) Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945, by Kerim Yasar. Columbia University Press, 2018. The Invention of Madness: State, Society, and the Insane in Modern China, by Emily Baum. University of Chicago Press, 2018. Idly Scribbling Rhymers: Poetry, Print, and Community in Nineteenth-Century Japan, by Robert Tuck. Columbia University Press, 2018. Forging the Golden Urn: The Qing Empire and the Politics of Reincarnation in Tibet, by Max Oidtmann. Columbia University Press, 2018. The Battle for Fortune: State-Led Development, Personhood, and Power among Tibetans in China, by Charlene Makley. Cornell University Press, 2018. Aesthetic Life: Beauty and Art in Modern Japan, by Miya Mizuta Lippit. Harvard University Asia Center, 2018. China’s War on Smuggling: Law, Economic Life, and the Making of the Modern State, 1842–1965, by Philip Thai. Columbia University Press, 2018. Where the Party Rules: The Rank and File of China’s Authoritarian State, by Daniel Koss. Cambridge University Press, 2018. Resurrecting Nagasaki: Reconstruction and the Formation of Atomic Narratives, by Chad Diehl. Cornell University Press, 2018. China’s Philological Turn: Scholars, Textualism, and the Dao in the Eighteenth Century, by Ori Sela. Columbia University Press, 2018. Making Time: Astronomical Time Measurement in Tokugawa Japan, by Yulia Frumer. University of Chicago Press, 2018. Mobilizing Without the Masses: Control and Contention in China, by Diana Fu. Cambridge University Press, 2018. Post-Fascist Japan: Political Culture in Kamakura after the Second World War, by Laura Hein. Bloomsbury, 2018. China’s Conservative Revolution: The Quest for a New Order, 1927–1949, by Brian Tsui. Cambridge University Press, 2018. Promiscuous Media: Film and Visual Culture in Imperial Japan, 1926–1945, by Hikari Hori. Cornell University Press, 2018. The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies, by Alexander Zahlten. Duke University Press, 2017.
The Chinese Typewriter: A History, by Thomas S. Mullaney. The MIT Press, 2017. Forgotten Disease: Illnesses Transformed in Chinese Medicine, by Hilary A. Smith. Stanford University Press, 2017. Borrowing Together: Microfinance and Cultivating Social Ties, by Becky Yang Hsu. Cambridge University Press, 2017. Food of Sinful Demons: Meat, Vegetarianism, and the Limits of Buddhism in Tibet, by Geoffrey Barstow. Columbia University Press, 2017. Youth for Nation: Culture and Protest in Cold War South Korea, by Charles R. Kim. University of Hawaii Press, 2017. Socialist Cosmopolitanism: The Chinese Literary Universe, 1945–1965, by Nicolai Volland. Columbia University Press, 2017. Yokohama and the Silk Trade: How Eastern Japan Became the Primary Economic Region of Japan, 1843–1893, by Yasuhiro Makimura. Lexington Books, 2017. The Social Life of Inkstones: Artisans and Scholars in Early Qing China, by Dorothy Ko. University of Washington Press, 2017. Darwin, Dharma, and the Divine: Evolutionary Theory and Religion in Modern Japan, by G. Clinton Godart. University of Hawaii Press, 2017. Dictators and Their Secret Police: Coercive Institutions and State Violence, by Sheena Chestnut Greitens. Cambridge University Press, 2016. The Cultural Revolution on Trial: Mao and the Gang of Four, by Alexander C. Cook. Cambridge University Press, 2016. Inheritance of Loss: China, Japan, and the Political Economy of Redemption After Empire, by Yukiko Koga. University of Chicago Press, 2016. Homecomings: The Belated Return of Japan’s Lost Soldiers, by Yoshikuni Igarashi. Columbia University Press, 2016. Samurai to Soldier: Remaking Military Service in Nineteenth-Century Japan, by D. Colin Jaundrill. Cornell University Press, 2016. The Red Guard Generation and Political Activism in China, by Guobin Yang. Columbia University Press, 2016. Accidental Activists: Victim Movements and Government Accountability in Japan and South Korea, by Celeste L. Arrington. Cornell University Press, 2016. Ming China and Vietnam: Negotiating Borders in Early Modern Asia, by Kathlene Baldanza. Cambridge University Press, 2016. Ethnic Conflict and Protest in Tibet and Xinjiang: Unrest in China’s West, coedited by Ben Hillman and Gray Tuttle. Columbia University Press, 2016. One Hundred Million Philosophers: Science of Thought and the Culture of Democracy in Postwar Japan, by Adam Bronson. University of Hawaii Press, 2016. Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. 1620–1720, by Xing Hang. Cambridge University Press, 2016.
Chinese Law in Imperial Eyes: Sovereignty, Justice, and Transcultural Politics, by Li Chen. Columbia University Press, 2016. Imperial Genus: The Formation and Limits of the Human in Modern Korea and Japan, by Travis Workman. University of California Press, 2015. Yasukuni Shrine: History, Memory, and Japan’s Unending Postwar, by Akiko Takenaka. University of Hawaii Press, 2015. The Age of Irreverence: A New History of Laughter in China, by Christopher Rea. University of California Press, 2015. The Knowledge of Nature and the Nature of Knowledge in Early Modern Japan, by Federico Marcon. University of Chicago Press, 2015. The Fascist Effect: Japan and Italy, 1915–1952, by Reto Hofmann. Cornell University Press, 2015. Empires of Coal: Fueling China’s Entry into the Modern World Order, 1860–1920, by Shellen Xiao Wu. Stanford University Press, 2015.