The modern Chinese urban bourgeoisie and the modern intel¬ligentsia (zhishi fenzi) were the products of long and intense Sino-foreign interaction. Modern written Chinese, with its vast amount of new vocabulary and altered styles, was a product of this world of "translingual practice". There surely were alienated individuals and phenomena within it, but it does not make sense to assume a priori that everything about it was alienated, torn between Chinese identity and the attractions of a foreign moder¬nity. Lu Xun will do as an example of a moralistic condemnation of the hypocrisy of traditional society and of a magnificently successful practice of the cosmopolitan creative life.
Leo Ou-fan Lee,"Modernity and its Discontents: The Cultural Agenda of the May Fourth Movement", in K. Lieberthal et al., eds., Perspectives on Modern China: Four Anniversaries
Lu Xun, "Revenge", "Hope", "What Happens After Nora Leaves Home?", "The Secret of Being A Joker", in Lu Xun, Silent China [chosen to highlight his cosmopolitan range of allusion and connection]
Lydia H. Liu, Translingual Practice.
Benjamin Schwartz, In Search of Wealth and Power
Jerome Grieder, Hu Shih
Paul Pickowicz, Ch'ü Ch'iu-pai
Xiaobing Tang, Global Space and the Nationalist Discourse of Modernity
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