Eyck Freymann, "One Belt One Road: Chinese Power Meets the World" (Harvard UP, 2020)

08/25/24 • 67 min

China’s One Belt One Road policy, or OBOR, represents the largest infrastructure program in history. Yet little is known about it with any certainty. How can something so large be so bewildering?

In One Belt One Road: Chinese Power Meets the World (Harvard East Asian Monographs, 2020), Eyck Freymann, a DPhil Candidate in China Studies at the University of Oxford, explores the nature, function, and purposes of OBOR. Drawing on primary documents in five languages, interviews with senior officials, and on-the-ground case studies in Sri Lanka, Tanzania, and Greece, Freymann sifts through the purposeful ambiguity of the Chinese Communist Party and unravels a series of popular myths about OBOR.

He finds that OBOR is not controlled by a monolithic state apparatus; that recipient nations do not consider OBOR a debt trap; and that appeal of OBOR is growing, not shrinking.

Ultimately, Freymann argues that the infrastructure projects are a sideshow to something else: Xi Jinping’s project to restore China’s greatness in world affairs and to solidify his place at the helm of the new Chinese empire.

John Sakellariadis is a 2020-2021 Fulbright US Student Research Grantee. He holds a Master’s degree in public policy from the School of International and Public Affairs at Columbia and a Bachelor’s degree in History & Literature from Harvard University.

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China’s One Belt One Road policy, or OBOR, represents the largest infrastructure program in history. Yet little is known about it with any certainty. How can something so large be so bewildering?

He finds that OBOR is not controlled by a monolithic state apparatus; that recipient nations do not consider OBOR a debt trap; and that appeal of OBOR is growing, not shrinking.

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Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

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Uluğ Kuzuoğlu, "Codes of Modernity: Chinese Scripts in the Global Information Age" (Columbia UP, 2023)

In the late nineteenth century, Chinese reformers and revolutionaries believed that there was something fundamentally wrong with the Chinese writing system. The Chinese characters, they argued, were too cumbersome to learn, blocking the channels of communication, obstructing mass literacy, and impeding scientific progress. What had sustained a civilization for more than two millennia was suddenly recast as the root cause of an ongoing cultural suicide. China needed a new script to survive in the modern world.

Codes of Modernity: Chinese Scripts in the Global Information Age (Columbia UP, 2023) explores the global history of Chinese script reforms--efforts to alphabetize or simplify the writing system--from the 1890s to the 1980s. Examining the material conditions and political economy underlying attempts to modernize scripts, Uluğ Kuzuoğlu argues that these reforms were at the forefront of an emergent information age. Faced with new communications technologies and infrastructures as well as industrial, educational, and bureaucratic pressures for information management, reformers engineered scripts as tools to increase labor efficiency and create alternate political futures.

Kuzuoğlu considers dozens of proposed scripts, including phonetic alphabets, syllabaries, character simplification schemes, latinization, and pinyin. Situating them in a transnational framework, he stretches the geographical boundaries of Chinese script reforms to include American behavioral psychologists, Soviet revolutionaries, and Central Asian typographers, who were all devising new scripts in pursuit of informational efficiency. Codes of Modernity brings these experiments together to offer new ways to understand scripts and rethink the shared experiences of a global information age.

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Next Episode

Christopher Brown, "Mapping Taiwanese Cinema, 2008-2020: Environments, Poetics, Practice" (Edinburgh UP, 2024)

Accounting for the unique characteristics of Taiwan’s cinema from 2008 to 2020, Mapping Taiwanese Cinema, 2008-2020: Environments, Poetics, Practice (Edinburgh UP, 2024) examines how filmmakers have depicted and imagined the island’s diverse environments. Drawing on cinema, cartography, and cultural studies, Christopher Brown argues that by refocusing attention on how films are shaped through a process of construction, the tradition of film poetics enables us to think about Taiwanese cinema differently: as a form of mapping. Wide-ranging in scope and drawing on original interviews with contemporary filmmakers, the analysis appraises case studies including works of popular entertainment, genre cinema such as comedies and horror, films about indigenous communities, LGBTQ+ cinema, and arthouse work. By asking what it means to map an environment onscreen, the book offers new insights into a critically neglected, yet creatively dynamic, period in Taiwan’s film history.

Christopher Brown is Senior Lecturer (Associate Professor) in Filmmaking at the University of Sussex. He has written and directed several short films including “Remission” (2015), “Soap” (2015), and “Coccolith" (2018). As a researcher, Chris has written on contemporary Taiwanese film, practice-based research, and American cinema. His research has appeared in journals such as the Quarterly Review of Film & Video, Asian Cinema, Film Criticism, Film International, Performance Matters, Bright Lights Film Journal, Media Practice & Education, East Asian Journal of Popular Culture, and Senses of Cinema.

Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts.

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