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Boxer Rebellion

Reconciliation through Art… (Spiegelman, that is)

In contrast to cultural history that draws on high art that is largely inaccessible to the masses and provides only encapsulated excerpts, Scott (2011) describes that “… popular cultural history draws on a broader base of materials and a more complete record, especially for the past two centuries (a period roughly coterminous with the existence of the United States of America). Thus, as historical subjects get closer to the present and the depth and breadth of evidence expands, it is increasingly possible to write history that reconstructs the mental universe in which ordinary people lived.”

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The Boxer Rebellion

Within the worldwide context of growing Western imperialism, China’s 1899-1901 Boxer Rebellion represents a critical nationalist action protesting foreign control and Christian missionary infiltration and co-optation (Boxer Rebellion, 2016; Sebring, 2014). Foreign media provided important channels for influencing critical interpretation of the conflict, primarily aimed at motivating public support within the eight nations that cooperated to subdue the uprising and afterwards carve up China amongst themselves (Boxer Rebellion, 2016; Eight-Nation Alliance, 2016; Sebring, 2014).

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