Over the last decade, Chinese citizens, judges, and prosecutors have started to take action against industrial pollution, pluralizing a regulatory landscape originally occupied by administrative agencies. Regulatory pluralism here has an authoritarian logic, occurring without the retreat of party‐state control. Under such logic, the party‐state both needs and fears new actors for their positive and negative roles in controlling risk and maintaining stability. Consequently, the regime's relation to regulatory pluralism is ambivalent, shifting between support and restriction. This prevents a development of a regulatory society that could bypass the regulatory state. Theoretically, this special edition argues for a subjective definition of regulation in a context of pluralism. Moreover, it finds that regulatory pluralism need not coincide with a decentring of regulation. Finally, it highlights how entry onto the regulatory landscape affects the non‐regulatory roles of new actors, creating unintended consequences for regulatory pluralism.

In the West, limited government capacity to solve environmental problems has triggered the rise of a variety of "nonstate actors" to supplement government efforts or provide alternative mechanisms for addressing environmental issues. How does this development - along with our efforts to understand it - map onto environmental governance processes in China? China's efforts to address environmental issues reflect institutionalized governance processes that differ from parallel western processes in ways that have major consequences for domestic environmental governance practices and the governance of China "going abroad." China's governance processes blur the distinction between the state and other actors; the "shadow of the state" is a major factor in all efforts to address environmental issues. The space occupied by nonstate actors in western systems is occupied by shiye danwei ("public service units"), she hui tuanti ("social associations") and e-platforms, all of which have close links to the state. Meanwhile, international NGOs and multinational corporations are also significant players in China. As a result, the mechanisms of influence that produce effects in China differ in important ways from mechanisms familiar from the western experience. This conclusion has far-reaching implications for those seeking to address global environmental concerns, given the importance of China's growing economy and burgeoning network of trade relationships.

Scholarship on Chinese civil society has produced rich empirical studies, but there have been few attempts to theorize the empirical knowledge acquired. Moreover, the question of how to conceptualize the political agency of civil society in a non-democratic context has received limited systematic attention. In this conceptual article, we draw on a discursive approach to politics to analyse the political agency of Chinese civil society. Our analysis is based on synthesizing insights gained through three separate research projects. We propose a conceptual framework which focuses on how civil society actors position themselves within a structured political space, how they represent social groups and issues through advocacy, how they care for these groups, and how they engage in processes of identity formation. Taken together, these four modalities constitute a framework for analysing the different political dimensions of civil society agency.

This article examines how artists have engaged with the issue of air pollution in Beijing, where poor air quality has become a serious public health matter. Artists have utilized various mediums including performance art, photography, and painting to represent smog. Through generating media and online attention this work has contributed to a relatively vibrant “green public sphere” (Yang and Calhoun, 2007) of air pollution discourse. In contrast to much resistance in China that relies upon making specific claims to government officials, artistic expression bypasses the authorities and appeals instead to public opinion. Artists utilize ambiguity to portray air pollution in novel ways that subtly question the structures that produce and sustain it. In this way, artists can challenge popular perceptions of smog and raise public awareness, thus intensifying support for policies that tackle smog. Yet art can also embody deep frustration at the powerlessness that artists, and the public more widely, experience when confronted by severe air pollution. Art therefore serves both as a form of activism and as an expression of curtailed agency in a politically restrictive environment.

No abstract