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Harold Pinter's Bleak Political Vision
http://dx.doi.org/10.18778/7525-994-0.07 Studies in English Drama and Poetry Vol. 3 Paulina Mirowska University of Łódź The Silencing of Dissent: Harold Pinter’s Bleak Political Vision Abstract: The article centres upon one of Harold Pinter’s last plays, Celebration, first performed at the Almeida Theatre, London, on 16 March 2000. Similarly to Party Time, a dystopian political play written almost a decade earlier, Celebration pursues the theme of a sheltered zone of power effectively marginalising a social “other.” This time, however, Pinter adopts the mode of comedy to dramatise the fragile and circumscribed existence of dissent and the moral coarseness of complacent elites. The article traces a number of intriguing analogies between Celebration and Pinter’s explicitly political plays of the 1980s and 1990s dealing with the suppression of dissident voices by overwhelming structures of established power. It is demonstrated how – despite the play’s fashionable restaurant setting, ostensibly far removed from the torture sites of One for the Road, Mountain Language and The New World Order – Pinter succeeds in relating the insulated world of Celebration to the harsh reality of global oppression. What is significant, I argue here against interpreting the humorous power inversions of the social behaviour in Celebration as denoting any fundamental changes in larger sociopolitical structures. It is rather suggested that the play reveals the centrality of Pinter’s scepticism about the possibility of eluding, subverting or curtailing the silencing force of entrenched status quo, implying perpetual nature of contemporary inequities of power. I also look at how the representatives of the empowered in-group in the play contain transgressing voices and resort to language distortion to vindicate oppression. -
April 28, 1969 Mao Zedong's Speech At
Digital Archive digitalarchive.wilsoncenter.org International History Declassified April 28, 1969 Mao Zedong’s Speech at the First Plenary Session of the CCP’s Ninth Central Committee Citation: “Mao Zedong’s Speech at the First Plenary Session of the CCP’s Ninth Central Committee,” April 28, 1969, History and Public Policy Program Digital Archive, Jianguo yilai Mao Zedong wengao, vol. 13, pp. 35-41. Translated for CWIHP by Chen Jian. http://digitalarchive.wilsoncenter.org/document/117145 Summary: Mao speaks about the importance of a united socialist China, remaining strong amongst international powers. Credits: This document was made possible with support from the Leon Levy Foundation. Original Language: Chinese Contents: English Translation What I am going to say is what I have said before, which you all know, and I am not going to say anything new. Simply I am going to talk about unity. The purpose of unity is to pursue even greater victory. Now the Soviet revisionists attack us. Some broadcast reports by Tass, the materials prepared by Wang Ming,[i] and the lengthy essay in Kommunist all attack us, claiming that our Party is no longer one of the proletariat and calling it a “petit-bourgeois party.” They claim that what we are doing is the imposition of a monolithic order and that we have returned to the old years of the base areas. What they mean is that we have retrogressed. What is a monolithic order? According to them, it is a military-bureaucratic system. Using a Japanese term, this is a “system.” In the words used by the Soviets, this is called “military-bureaucratic dictatorship.” They look at our list of names, and find many military men, and they call it “military.”[ii] As for “bureaucratic,” probably they mean a batch of “bureaucrats,” including myself, [Zhou] Enlai, Kang Sheng, and Chen Boda.[iii] All in all, those of you who do not belong to the military belong to this “bureaucratic” system. -
China╎s Cultural Revolution and How the Red Guard
University of Portland Pilot Scholars History Undergraduate Publications and Presentations History 12-2020 The Kids Aren’t Alright: China’s cultural revolution and how the Red Guard impacted family Lillian Healy Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the Asian History Commons, and the Chinese Studies Commons Citation: Pilot Scholars Version (Modified MLA Style) Healy, Lillian, "The Kids Aren’t Alright: China’s cultural revolution and how the Red Guard impacted family" (2020). History Undergraduate Publications and Presentations. 32. https://pilotscholars.up.edu/hst_studpubs/32 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. The Kids Aren’t Alright: China’s cultural revolution and how the Red Guard impacted family By Lillian Healy Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2020 When talking about the younger generation, many people think about their potential to change the world. As evident by modern social and political issues, young people are more likely to advocate for change. From social media platforms to protests, youth have become increasingly involved due to the information age that we live in. The narrative that kids receive is important, as how children are raised will impact what kind of person they will be. Whether its college students advocating for equal rights or younger students protesting for gun safety regulations, the world view children are exposed to will impact how they think and what they believe in. -
THE SECURITISATION of TIBETAN BUDDHISM in COMMUNIST CHINA Abstract
ПОЛИТИКОЛОГИЈА РЕЛИГИЈЕ бр. 2/2012 год VI • POLITICS AND RELIGION • POLITOLOGIE DES RELIGIONS • Nº 2/2012 Vol. VI ___________________________________________________________________________ Tsering Topgyal 1 Прегледни рад Royal Holloway University of London UDK: 243.4:323(510)”1949/...” United Kingdom THE SECURITISATION OF TIBETAN BUDDHISM IN COMMUNIST CHINA Abstract This article examines the troubled relationship between Tibetan Buddhism and the Chinese state since 1949. In the history of this relationship, a cyclical pattern of Chinese attempts, both violently assimilative and subtly corrosive, to control Tibetan Buddhism and a multifaceted Tibetan resistance to defend their religious heritage, will be revealed. This article will develop a security-based logic for that cyclical dynamic. For these purposes, a two-level analytical framework will be applied. First, the framework of the insecurity dilemma will be used to draw the broad outlines of the historical cycles of repression and resistance. However, the insecurity dilemma does not look inside the concept of security and it is not helpful to establish how Tibetan Buddhism became a security issue in the first place and continues to retain that status. The theory of securitisation is best suited to perform this analytical task. As such, the cycles of Chinese repression and Tibetan resistance fundamentally originate from the incessant securitisation of Tibetan Buddhism by the Chinese state and its apparatchiks. The paper also considers the why, how, and who of this securitisation, setting the stage for a future research project taking up the analytical effort to study the why, how and who of a potential desecuritisation of all things Tibetan, including Tibetan Buddhism, and its benefits for resolving the protracted Sino- Tibetan conflict. -
Information to Users
INFORMATION TO USERS This manuscript Pas been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissenation copies are in typewriter face, while others may be from anytype of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material bad to beremoved, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with smalloverlaps. Each original is also photographed in one exposure and is included in reduced form at the back ofthe book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell &Howell Information Company 300North Zeeb Road. Ann Arbor. MI48106-1346 USA 313!761-47oo 800:521·0600 THE LIN BIAO INCIDENT: A STUDY OF EXTRA-INSTITUTIONAL FACTORS IN THE CULTURAL REVOLUTION A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY AUGUST 1995 By Qiu Jin Dissertation Committee: Stephen Uhalley, Jr., Chairperson Harry Lamley Sharon Minichiello John Stephan Roger Ames UMI Number: 9604163 OMI Microform 9604163 Copyright 1995, by OMI Company. -
Trends in Political Television Fiction in the UK: Themes, Characters and Narratives, 1965-2009
This item was submitted to Loughborough’s Institutional Repository (https://dspace.lboro.ac.uk/) by the author and is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Trends in political television fiction in the UK: Themes, characters and narratives, 1965-2009. 1 Introduction British television has a long tradition of broadcasting ‘political fiction’ if this is understood as telling stories about politicians in the form of drama, thrillers and comedies. Vote, Vote for Nigel Barton (1965) is generally considered the first of these productions for a mass audience presented in the then usual format of the single television play. Ever since there has been a regular stream of such TV series and TV-movies, varying in success and audience appeal, including massive hits and considerable failures. Television fiction has thus become one of the arenas of political imagination, together with literature, art and - to a lesser extent -music. Yet, while literature and the arts have regularly been discussed and analyzed as relevant to politics (e.g. Harvie, 1991; Horton and Baumeister, 1996), political television fiction in the UK has only recently become subject to academic scrutiny, leaving many questions as to its meanings and relevance still to be systematically addressed. In this article we present an historical and generic analysis in order to produce a benchmark for this emerging field, and for comparison with other national traditions in political TV-fiction. We first elaborate the question why the study of the subject is important, what is already known about its themes, characters and narratives, and its capacity to evoke particular kinds of political engagement or disengagement. -
Sample Chapter
Copyrighted material – 9781137590794 Copyrighted material – 9781137610270 CONTENTS INTRODUCTION Some Key Terms and Ideas viii The introduction offers the reader some definitions of key terms and theo- ries, as well as seeking to explore what might be meant by ‘contemporary’. It also explains the importance of analysing critical and scholarly commen- tary, introduces some of the plays explored later in the book and provides an outline of the structure of the volume. CHAPTER ONE The Rise of Political Theatre 1 The book starts by analysing the rise of left-wing socialist theatre in the late 1960s to the early 1980s, exploring the relevance of these key dates and examining the theatrical and political landscape at this time. The chapter explores the work of Bond, Hare and Brenton, and then Pinter, analysing the critical response to their work in first performance, as well as some relevant modern revivals, and also offers commentary on the relationship between ‘real’ politics and theatrical response to them. CHAPTER TWO The Gendering of Political Theatre: Women’s Writing and Feminist Drama 25 Following on from analysis of political playwriting in chapter one, this chapter examines the rise of feminist theatre in the 1970s and 1980s. Focusing on Daniels and Churchill, the chapter analyses the meaning and definition of feminist theatre, and seeks to locate these dramatists’ work in the context of feminist socialist writing more widely. The chapter explores the often hostile critical reaction to this work, and reflects on feminist theatre’s attempts to restructure dominant forms of theatre into more fluid and deconstructed structures. v Copyrighted material – 9781137610270 Copyrighted material – 9781137610270 vi CONTENTS CHAPTER THREE In-Yer-Face Theatre: The Shocking New Face of Political Drama? 48 In the 1990s, a ‘new’ and shocking form of theatre appeared to erupt on the British stage – so-called ‘In-Yer-Face’ theatre. -
ABSTRACT Title of Document: the ANTI-CONFUCIAN CAMPAIGN
ABSTRACT Title of Document: THE ANTI-CONFUCIAN CAMPAIGN DURING THE CULTURAL REVOLUTION, AUGUST 1966-JANUARY 1967 Zehao Zhou, Doctor of Philosophy, 2011 Directed By: Professor James Gao, Department of History This dissertation examines the attacks on the Three Kong Sites (Confucius Temple, Confucius Mansion, Confucius Cemetery) in Confucius’s birthplace Qufu, Shandong Province at the start of the Cultural Revolution. During the height of the campaign against the Four Olds in August 1966, Qufu’s local Red Guards attempted to raid the Three Kong Sites but failed. In November 1966, Beijing Red Guards came to Qufu and succeeded in attacking the Three Kong Sites and leveling Confucius’s tomb. In January 1967, Qufu peasants thoroughly plundered the Confucius Cemetery for buried treasures. This case study takes into consideration all related participants and circumstances and explores the complicated events that interwove dictatorship with anarchy, physical violence with ideological abuse, party conspiracy with mass mobilization, cultural destruction with revolutionary indo ctrination, ideological vandalism with acquisitive vandalism, and state violence with popular violence. This study argues that the violence against the Three Kong Sites was not a typical episode of the campaign against the Four Olds with outside Red Guards as the principal actors but a complex process involving multiple players, intraparty strife, Red Guard factionalism, bureaucratic plight, peasant opportunism, social ecology, and ever- evolving state-society relations. This study also maintains that Qufu locals’ initial protection of the Three Kong Sites and resistance to the Red Guards were driven more by their bureaucratic obligations and self-interest rather than by their pride in their cultural heritage. -
(Hrsg.) Strafrecht in Reaktion Auf Systemunrecht
Albin Eser / Ulrich Sieber / Jörg Arnold (Hrsg.) Strafrecht in Reaktion auf Systemunrecht Schriftenreihe des Max-Planck-Instituts für ausländisches und internationales Strafrecht Strafrechtliche Forschungsberichte Herausgegeben von Ulrich Sieber in Fortführung der Reihe „Beiträge und Materialien aus dem Max-Planck-Institut für ausländisches und internationales Strafrecht Freiburg“ begründet von Albin Eser Band S 82.9 Strafrecht in Reaktion auf Systemunrecht Vergleichende Einblicke in Transitionsprozesse herausgegeben von Albin Eser • Ulrich Sieber • Jörg Arnold Band 9 China von Thomas Richter sdfghjk Duncker & Humblot • Berlin Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. DOI https://doi.org/10.30709/978-3-86113-876-X Redaktion: Petra Lehser Alle Rechte vorbehalten © 2006 Max-Planck-Gesellschaft zur Förderung der Wissenschaften e.V. c/o Max-Planck-Institut für ausländisches und internationales Strafrecht Günterstalstraße 73, 79100 Freiburg i.Br. http://www.mpicc.de Vertrieb in Gemeinschaft mit Duncker & Humblot GmbH, Berlin http://WWw.duncker-humblot.de Umschlagbild: Thomas Gade, © www.medienarchiv.com Druck: Stückle Druck und Verlag, Stückle-Straße 1, 77955 Ettenheim Printed in Germany ISSN 1860-0093 ISBN 3-86113-876-X (Max-Planck-Institut) ISBN 3-428-12129-5 (Duncker & Humblot) Gedruckt auf alterungsbeständigem (säurefreiem) Papier entsprechend ISO 9706 # Vorwort der Herausgeber Mit dem neunten Band der Reihe „Strafrecht in Reaktion auf Systemunrecht – Vergleichende Einblicke in Transitionsprozesse“ wird zur Volksrepublik China ein weiterer Landesbericht vorgelegt. Während die bisher erschienenen Bände solche Länder in den Blick nahmen, die hinsichtlich der untersuchten Transitionen einem „klassischen“ Systemwechsel von der Diktatur zur Demokratie entsprachen, ist die Einordung der Volksrepublik China schwieriger. -
Talk About a Revolution: Red Guards, Government Cadres, and the Language of Political Discourse
Talk About a Revolution: Red Guards, Government Cadres, and the Language of Political Discourse Schoenhals, Michael 1993 Link to publication Citation for published version (APA): Schoenhals, M. (1993). Talk About a Revolution: Red Guards, Government Cadres, and the Language of Political Discourse. (Indiana East Asian Working Paper Series on Language and Politics in Modern China). http://www.indiana.edu/~easc/resources/working_paper/noframe_schoenhals_pc.htm Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Talk About a Revolution: Red Guards, Government Cadres, -
Theatre, Communism, and Love
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE PASSIONATE AMATEURS Passionate Amateurs THEATRE, COMMUNISM, AND LOVE Nicholas Ridout THE UNIVERSITY OF MICHIGAN PRESS Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written per- mission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in- Publication Data Ridout, Nicholas Peter. Passionate amateurs : theatre, communism, and love / Nicholas Ridout. pages cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 978-0- 472- 11907- 3 (cloth : alk. paper) — ISBN 978-0- 472- 02959- 4 (e- book) 1. Theater and society. 2. Communism and culture. I. Title. PN2051.R53 2013 792—dc23 2013015596 For Isabel and Peter, my parents Acknowledgments Throughout the writing of this book I was fortunate to work in the De- partment of Drama at Queen Mary University of London. Colleagues and students alike made the department a truly stimulating and supportive place to be, to work, and to think. I am grateful to them all. I owe particu- lar thanks, for conversations that contributed in tangible ways to the de- velopment of this work, to Bridget Escolme, Jen Harvie, Michael McKin- nie, Lois Weaver, and Martin Welton. -
Forward Theatre: an Introduction
ARTICLE .17 Forward Theatre: An Introduction Sabina Head Griffith University Australia Abstract Futurists build scenarios for clients and are concerned with effectively communicating them. Stories provide frameworks and aim to engage audiences with entertainment techniques that include more than rational thinking and analysis, by exploring alternative futures involving characters and events as individuals deal with issues brought about by a new situation. Stories work at multiple levels including the most profound, offering new insights and patterns of thinking. Theatre can present characters in relationships, who 'show the story', reacting to events in the 'here and now', for audiences who remain semiobjective observers while devel- oping empathy with the characters in their concrete, if temporary future. In the process, audiences are exposed to futures thinking, extending possibilities for change. Forward Theatre is a discovered genre for exploring futures issues that has potential uses for futurists. Keywords: forward theatre, futures studies drama, futures communication genre Forward Theatre as a Futures Informed Genre Theatre is a holistic performance art; it includes visual elements, sound elements, language, body language and movement through time and space; and it is designed for communication to audiences, with or without media assistance or enhancement. Drama is an aesthetic way of knowing that includes theatre. During a theatrical performance, the elements, or ingredients of drama are continually manipulated by a production team in combination with each other to create a rich, com- plex, concrete event with layers of meaning constructed and discovered by participants during the show and on later reflection. Theatre is also a medium for shared communication as participants – observers, performers, and behind-the-scene contributors and writers – create, experience, interpret, discuss and reflect on stories and their meanings.