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The idea of cosmopolis evokes an excess of geography. The classical world first understood it to mean a harmonious conjunction of human society with the natural cosmos (Toulmin 67-68), but in more modern contexts, the term impües something larger than the nation, a place where multitudes move across the provincial boundaries of national life. We may thus be tempted to see in the cosmopoüs a Utopian conjunction of local and global, the ideal incarnation of a multicultural and transnational space beyond the nation-state. Shanghai, however, presents a complication. Within twentieth-century Chinese contexts, it has been uniquely marked by a cosmopolitan reputation, yet its status as a modern metropoUs (UteraUy a "mother city," replete with imperial overtones) originated precisely at the historical moment of its colonization, when it was forcibly opened to Western trade and settlement after China's defeat in the first Opium War (1839-42). Shanghai therefore offers us the potentiaUy liberating model of a city that brings together location and globality but simultaneously reminds us that a world city may emerge, not from civüizational self-development or democratic consent, but from mUitary and imperial conquest. For the colonial cosmopoUs, a ready fracture runs through its communal imaginings: what is for the self -fashioned world citizen a symbolic home of riches and refuge, multiplicity and mobility, often connotes for the nationalist or cultural purist an exemplary site of self-dislocation and disempowerment.
Beyond this dichotomy, I would propose that a third theoretical position is suggested by Shanghai nativism. It is a perspective put forth by some (though certainly not all) writers, whether Chinese or Western, who are born into the city's condition of semicolonial cosmopolitanism and whose primary identification is with neither empire nor nation, worldUness nor Chineseness, but Shanghai itself as the biopoUtical tension between those forces. I will focus on an unUkely coupUng of two fictional texts of wartime Shanghai (1937^15), Eileen Chang's Love in a Fallen City (1943) and J. G. Ballard's Empire of the Sun (1984). Although Ballard (1930-2009) belonged to the class of British imperial entrepreneurs while Chang (1920-1995) has posthumously claimed a secure place in the Chinese literary canon, they shared a common identification with Shanghai nativism. This, I would argue, led them to produce narratives that lay bare the function of...