Chinese Thirdspace: The Paradox of Moderate Politics, 1946-2020

Chinese intellectuals have long chafed under the dominance of dualities--the sense that they are trapped between two diametrically opposed forces, with no choice but to pick one side or the other. Over the years, they have been driven into binary debates such as reform versus revolution, tradition versus modernity, the West versus the East, and left versus right. At the same time, a number of key thinkers have sought to transcend the extremes and find middle ground.

This book examines how a diverse set of Chinese intellectuals carved out in-between spaces beyond the poles of competing ideologies for greater openness, multiplicity, and pluralism. Reappropriating and rehistoricizing the concept of Thirdspace--theorized by Homi Bhabha and Edward Soja--Jianmei Liu traces how writers and artists, in different times and places, have explored and developed alternatives to either/or dichotomies. Chinese Thirdspace brings together an unexpected group of cases, including Zhang Dongsun’s political philosophy, Yin Haiguang’s ＂colorless thought,＂ Jin Yong’s martial arts fiction, Liu Zaifu’s fragmentary writing, Gao Xingjian’s transmedia cine-poems, Xi Xi’s hybrid works, Chi Zijian’s eulogy of shamanism, Chu Tien-Hsin’s various heterotopias, and Chan Koonchuang’s speculative political novel, concluding with the controversy over Fang Fang’s Wuhan Diary. Their works offer new ways to grapple with the modern Chinese experience, and as Liu shows, they contain alternative possibilities for a future beyond the binary oppositions of our current era. Wide-ranging and theoretically rich, this interdisciplinary book demonstrates the pivotal role of Thirdspace in the intellectual history, politics, philosophy, literature, aesthetics, art, and film of modern China.

Jianmei Liu is chair professor of Chinese literature at the Hong Kong University of Science and Technology. She is the author of Zhuangzi and Modern Chinese Literature (2016) and Revolution Plus Love: Literary History, Women’s Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction (2003).