Neither remnants nor commodities: Spirit objects in early twentieth century Chinese regional fiction

Abstract

This paper examines the regional fiction of early twentieth century China in order to understand how such texts presented the object world of rural life. In doing so it addresses a gap in the historiography of material culture in modern China, which has emphasized urban commodity regimes and has paid far less attention to the ways in which pre-existing object practices endured into the time of the modern Republic. Building off of the methodological insights of scholars such as Bill Brownand Janet Poole regarding the contribution that literary study can make to historical understandings of material cultures, this paper argues that the regional texts of Lu Xun, Xu Qinwen, Ye Shengtao, and Yu Dafu were bewitched by overlapping life worlds: one represented by the secular rationalism of the text's narrators, and the other represented by the animistic practices of the rural others they encounter, which was expressed through objects such as joss sticks, temple doorsills, and ancestral alters. These literary works reflected upon how objects were used to make meaning in ways that were not reducible to urban commodity fetishism or remnant “superstition.” As presented in these works, spiritual objects remain powerfully active parts of the affective worlds of rural people, collapsing binary distinctions between living language and inanimate matter, the human and the ghostly, the past and the present. For the narrators of these texts, these object practices invoke a complicated mixture of modernizing critique and empathetic recognition. As such, these texts allow readers to witness the early expressions of a complex dialectic of rejection and recognition/accommodation that has marked the attitude modernizing states in China have taken in relation to animistic material cultures over the past century.

Costumes of the migrating body: A study of indentured labors’ clothes and jewelry

“…McConaghy has looked into the material culture of pre-twentieth century China using the regional fiction produced during and after the 1920s (McConaghy 2022: 167). McConaghy used these fictional works without sufficient research into the object world.…”