Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.”

Let me begin with a bald statement: Race-conscious affirmative action is not about diversity. Rather, it is about justice. And it is about the kind of justice that the American legal system is ill-equipped to deliver: transitional justice._^[1]

You might ask, who am I and what standing do I have in...

To better understand China in the twenty-first century, globalized culture must first better understand itself.

A healthy government or nation or culture should be of the people, by the people and for the people. But does the concept of the people as a democratic, social entity still count?

It is the time of the year when students from Asia are applying to universities in the US. More and more ambitious young people from the East are looking to American education and culture, nurturing dreams for a bright future.

I am teaching a graduate course this quarter on premodern Chinese literary history that begins with the so-called "Confucian Classics" (10th to 6th centuries BC) and ends sometime around the early eleventh century AD, with the emergence of the genre of ci  ("song-lyric").