The convergence of new and old media technologies invites a renewed focus on orality, and it also makes possible oral history goes public in Asia. In an embodied interview space, orality, affect, and memory interact. Public oral history in Asia is emergent and complex. This article explores that emergence, that complexity. With a selection of case analysis in Asian context, the study argues how public oral history has emerged as an affective engagement with the past, and how that engagement has actively shaped the public memories.

This article explores historical video games as a system modeling medium, and how they provide space for a new form of historical agency that thrives on spatial navigations and intense interactions. The counterfactuals embedded in game designs offer alternative narrative structures for players to think and to imagine the past differently. Such shared immersion in the analog-digital remediation foster a diverse array of "collectives" and expand the traditional scope of collective memory thus historical consciousness. Drawing on a series of video games based on Romance of the Three Kingdoms as illustrative cases, this study argues that historical video games have emerged as complex public history in Asia.

Few studies from an individual perspective have analyzed the multidimensional poverty of rural women in China. Therefore, based on the CFPS data from 2010 to 2020 and the Alkire-Foster approach, this study built a six-dimensional system to portray the status of multidimensional poverty among rural women. The overall comparisons found that rural women were more likely to be multidimensional poor than other subgroups. And the results of rural women showed significant demographic and spatio-temporal differences. That is, older rural women were more deprived than younger rural women. Rural women with spouses or confidence were less deprived than those without spouses or confidence, respectively. From the spatial perspective, the censored headcount ratios of rural women in descending order were Western Region, Central Region and Eastern Region. From the temporal perspective, the risk of rural women’s multidimensional poverty decreased significantly from 2010 to 2020. The importance of non-material indicators was gradually becoming prominent, including education, health and subjective wellbeing. The conclusions can contribute to the development of policies, even if some limitations need to be further improved.

A diverse and dynamic range of public histories has emerged and rapidly evolved in China during the past two decades. Why do such amateurish, mostly unpaid forms of history possess such a mobilizing effect upon ordinary Chinese people? This article addresses public history in China from the perspective of prosumption, and argues for a new model of historical inquiry from four key respects, i.e., the goal, process, means, and structure. Prosuming history, a fresh social fact, a consciously collective phenomenon, an intricate code system of signs, has initiated a paradigm shift in the field of history in China.

电影《囧妈》真实再现了中国式母爱的病态、囧相，尤其是中国独生子女时代，母亲溺爱子女到了牺牲个 人爱情、家庭幸福的层面，独生子女一家一个的“小皇帝”，母亲委曲求全、自欺欺人的婚恋，以自虐，牺牲青春年华，埋葬爱情为代价，以成全母爱胸怀的博大、伟大无私，子女却不领情母亲的付出，甚至看不懂母爱，让人感叹。

Данная работа посвящена исследованию преобладающих на современном этапе ценностей китайского общества и достоверности отражения этих ценностей в средствах массовой информации Китая, их трансформации в историческом контексте, а также анализу внешних факторов, влияющих на формирование медиакоммуникации страны. В работе также исследуется специфика ценностных ориентиров, целенаправленно продвигаемых с помощью средств массовой информации отдельными государственными структурами.

The traditional history education in China has been challenged ever since the dawn of the twenty first century. This article argues that public history, as an emergent and reflective practice, constitutes an effective intervention into the traditional history education in three significant ways. These three aspects are learnable, but are not easily teachable through mere cosmetic reform of the current historical curriculum; the real changes should come from outside of the established frame of reference, i.e. history teachers with public history knowledge and skills. With an in-depth analysis of three national public history faculty training programs (2014-2019), the article further suggests that public history provides new direction in teaching the past in China.

Performing history has become immensely popular in China since the dawn of the twenty-first century. What is exactly the cultural impulse behind the massive craze for performing history in China? Premised on history being one of many modes of representation of the past, and performance being one of them, this article argues that performing history through reenactment, an expression of cultural memory mediated and remediated in the present, is a new form of public history in China. The democratic impulse enacted by such a performance can nurture serious discussions on historical issues, cultivate a shared interpretive authority, and shape historical consciousness of the ordinary Chinese.

This article starts out from looking at what is missing from environmental history in China today, and then goes on to ask a particular set of questions: How does one interpret environmental history with the public? How does one present environmental history in public space? How does one engage with an environmentally conscious public? And ultimately, is it possible to establish public environmental history as a new mode of knowledge? In answer to these questions, it focuses on relationships, including the relationships between nature and culture, the environment and people, and history and memory. Using the dredging history of West Lake in Hangzhou as an illustrative case, it explores nature as material culture, calls attention to the rhetorical power of nature, and argues that environmental history should be interpreted and presented as public memory.

Historical video games, as one genre of historical reenactment in the digital environment, have rapidly evolved in China during the past two decades. Probing the affective, imaginative, and playful nature of historical video games, this article argues that the power of historical video games lies first in the methodological value and pedagogical virtue of the counterfactual thinking, and second in the potential to digitally and collectively shape the historical consciousness of players. With a potential for a shared authority, historical video games have emerged as participatory public history in China.

Museums have grown exponentially in China in the span of approximately 110 years. How does one design an exhibit for a better-informed public? What kind of interpretive space is needed to engage the public? How do museums function as sites of public history? This article traces the genealogy of museum development in China, and argues that the birth of the modern museum in China is a product of the radicalism of the late nineteenth and the early twentieth centuries. Embedded in the subsequent one hundred years of development are a changing definition of "public," a remodeled idea of "history," and an evolving relationship between museums and their public. Within this context, the "Museums and the Public: Urban Landscape and Memory" project explores how the public interprets history and landscapes through exhibits, and if or how the exhibits reflect their memories. The analysis raises three possibilities for museums in China.

Oral history has attracted steadily increasing scholarly and public attention in China during the past two decades. This article surveys the landscape of oral history in China and addresses two core questions: first, why has oral history become popular with such scope and intensity? Second, how does oral history influence the historical consciousness of a cross-section of ordinary Chinese? This article calls for a more critical analysis of the diverse and dynamic oral histories in China.

Dans le contexte de la culture chinoise, cet article analyse, en s’appuyant sur la théorie lacanienne des trois registres, des cas cliniques afin d’identifier l’origine du traumatisme générationnel du côté de la mère et reconnaître son inévitabilité. Sous l’influence du traumatisme générationnel, la naissance d’une fille cause à sa mère un effet de castration secondaire. Dans une analyse de la culture chinoise, cet article montre que le traumatisme intergénérationnel de la mère et le désir de la fille révèlent l’espoir d’un retour au monde du corps et de l’esprit de la mère, mais aussi d’un retour au désir de la mère. Ils sont probablement la cause de l’abondance et de la diversité des symptômes somatiques chez les patients chinois. Ainsi, la castration secondaire condamne à l’indigence : une femme ne pourra jamais atteindre son destin de désir maternel.