Changes

==Culture and fashion==

==Culture and fashion==

China in the 1920s and early 1930s was more than squalid tales of greed, corruption, and betrayal among the militarists. This was also the “high modern” period when all things modern and “scientific” were revered. Writers abandoned the refined style of Confucius in favor of ''báihuà'' ("plain speech"). This style used idioms and constructions closer to Mandarin, the modern spoken language of northern Chinese. In 1920, language reformer [[Hu Shi]] published a volume of experimental poetry in the new style.<ref>Hu Shi, ''Expectations'' (1920).</ref> The vernacular classic ''The True Story of Ah Q'' by Lu Xun was published in 1921.<ref>In fact, vernacular writing had long been in wide circulation. In the seventeenth century, Jin Shengtan edited and published ''Six Works of Genius.'' This collection included several works written in the dialect of Mandarin used in Nanjing. The style followed by Hu Shi and other modern writers is based on ''[[Dream of the Red Chamber]]'' (1791), an epic novel written in Beijing dialect.</ref> The shift from Classical Chinese to Mandarin can be compared to the shift from Latin to national languages that occurred earlier in Europe.<ref>Hsia, C.T., "The Early Period," ''A History of Modern Chinese Fiction'' (1999).</ref>

China in the 1920s and early 1930s was more than squalid tales of greed, corruption, and betrayal among the militarists. This was also the “high modern” period when all things modern and “scientific” were revered. Writers abandoned the refined style of Confucius in favor of ''báihuà'' ("plain speech"). This style used idioms and constructions closer to Mandarin, the modern spoken language of northern China. In 1920, language reformer [[Hu Shi]] published a volume of experimental poetry in the new style.<ref>Hu Shi, ''Expectations'' (1920).</ref> The vernacular classic ''The True Story of Ah Q'' by Lu Xun was published in 1921.<ref>Vernacular writing had long been in wide circulation, although earlier writers did not have a style standard to follow. In the seventeenth century, Jin Shengtan edited and published ''Six Works of Genius.'' This collection included several works written in the dialect of Mandarin used in Nanjing. The ''báihuà'' style is based on ''[[Dream of the Red Chamber]]'' (1791), an epic novel written in Beijing dialect.</ref> The shift from Classical Chinese to Mandarin can be compared to the shift from Latin to national languages that occurred earlier in Europe.<ref>Hsia, C.T., "The Early Period," ''A History of Modern Chinese Fiction'' (1999).</ref>

There were campaigns against footbinding, concubinage, and other abusive practices toward women. By the 1930s, the fashion-conscious "Modern Girl" had displaced the politically-oriented "New Woman."<ref>Ma, Yuxin, ''[http://books.google.de/books?id=TiVg_CP4rMAC&dq= Women Journalists and Feminism in China, 1898-1937]'' (2010). The term "modern girl" was popularized by the Japanese novel ''Naomi'' (1924) by Tanizaki Jun’ichirō.</ref> The product of mass advertising, women's magazines, and the influence of Japanese fashion, the Modern Girl had unbound feet, wore her hair bobbed or permed, and sported a tight-fitting ''qípáo''.<ref name=Dong>Dong, Madeline Y., "Who is afraid of the Chinese Modern Girl?", ''The Modern Girl Around the World: Consumption, Modernity, and Globalization'' (2008).</ref> Was she looking for love, or a chance to work her feminine wiles and con a sap out of his savings? Opinion was divided among writers of the time. The international city of Shanghai was the epicenter of high modern culture.<ref name="Dong" /> In the early 1930s, the Modern Girl outfit grew in popularity until it was practically a uniform. She could be from any class, rich or poor. Even young women in destitute Shanghai districts were somehow able to come up with money for cosmetics and clothing, although their families could barely afford to eat.<ref name="Dong" /> In rural China, cultural norms changed more slowly. The arranged marriage was cherished, the focus of the family remained the production of children who would worship the ancestors, and a girl was brought up to be "a good wife and a wise mother."

There were campaigns against footbinding, concubinage, and other abusive practices toward women. By the 1930s, the fashion-conscious "Modern Girl" had displaced the politically-oriented "New Woman."<ref>Ma, Yuxin, ''[http://books.google.de/books?id=TiVg_CP4rMAC&dq= Women Journalists and Feminism in China, 1898-1937]'' (2010). The term "modern girl" was popularized by the Japanese novel ''Naomi'' (1924) by Tanizaki Jun’ichirō.</ref> The product of mass advertising, women's magazines, and the influence of Japanese fashion, the Modern Girl had unbound feet, wore her hair bobbed or permed, and sported a tight-fitting ''qípáo''.<ref name=Dong>Dong, Madeline Y., "Who is afraid of the Chinese Modern Girl?", ''The Modern Girl Around the World: Consumption, Modernity, and Globalization'' (2008).</ref> Was she looking for love, or a chance to work her feminine wiles and con a sap out of his savings? Opinion was divided among writers of the time. The international city of Shanghai was the epicenter of high modern culture.<ref name="Dong" /> In the early 1930s, the Modern Girl outfit grew in popularity until it was practically a uniform. She could be from any class, rich or poor. Even young women in destitute Shanghai districts were somehow able to come up with money for cosmetics and clothing, although their families could barely afford to eat.<ref name="Dong" /> In rural China, cultural norms changed more slowly. The arranged marriage was cherished, the focus of the family remained the production of children who would worship the ancestors, and a girl was brought up to be "a good wife and a wise mother."