General945.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Global City Review International
Global City Review International i s s u i: n u m w i- H i o u k r i: i: n 2 0 0 2 lOlINDINC, !■ DITOR Limey Abrams issiii rniTORS Patricia Dunn and Nina Herzog poiiTRv c o ns m .t a n t : Susan lands CO NTRI B U 11 N G 1- D I TO H S Edith Chevat, Patricia Dunn. Nina Herzog, a n d Susan Lewis MANAGING ANI) I'DITORIAI. HOARD Lisa Bareli t, Eden Coughlin. Patricia Dunn, Joanna Fitzpatrick, Beth Herstein, Nina Herzog, Lance Hunt, Julie Morrisett, Sue Park, a n d Justin Young K FADING SFKIFS PRODUCTION Edith Chevat Ananda La Vita Global City Review is a literary metropolis of the imagination. Edited and produced by writers, it celebrates the difficulties and possibilities of the social world of cit ies, and ot her const ruct ions of community.. .while honoring the inventiveness and originality of ordinary lives. Each pocket-size issue includes stories, poems, memoirs, interviews and essays organized around a broad theme. GLOBAL CITY REVIEW International 2002 NUMBER FOURTEEN COPYRIGHT © 2002 BY GLOBAL CITY PRESS ALL RIGHTS REVERT TO AUTHORS UPON PUBLICATION. Global City Review is published twice yearly. ALL CORRESPONDENCE SHOULD BE SENT TO: GLOBAL CITY REVIEW SIMON H. RIFKIND CENTER FOR THE HUMANITIES THE CITY COLLEGE OF NEW YORK 138TH AND CONVENT AVENUE NEW YORK, NY IOO31 [email protected] GLOBAL CITY REVIEW IS DISTRIBUTED BY BERNHARD DEBOER, INC. ISBN: 1-55605-344-4 GLOBAL CITY REVIEW IS PUBLISHED WITH THE GENEROUS SUPPORT OF THE ROY AND NIUTA TITUS FOUNDATION AND OF THE SIMON H. -
Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Prepared Statement of Xiaorong Li, Independent Scholar
Prepared Statement of Xiaorong Li, Independent Scholar Congressional-Executive Commission on China Roundtable on "Current Conditions for Human Rights Defenders and Lawyers in China, and Implications for U.S. Policy" June 23, 2011 The serious backsliding of the Chinese government’s human rights records had started before the 2008 Summer Olympics, highlighted with the jailing of activists Hu Jia, Huang Qi, and many others, the torture and disappearance of lawyer Gao Zhisheng, the imprisonment of Nobel Peace Prize laureate Liu Xiaobo and house arrest of his wife, both incommunicado, and the house arrest of Chen Guangcheng after his release. Yesterday’s release of the artist Ai Weiwei on bail awaiting for trial was in the same fashion as his arrest: with disregard of the Chinese law. All these took place in the larger context of severe restrictions on freedom of expression and association, repression against religious and ethnic minorities, and significant roll-back on rule of law reform. Since February, several hundreds of people have been harassed or persecuted in one of the harshest crackdowns in recent years when the Chinese government tried to stamp out any sparks for protests in the Tunisia-style “Jasmine Revolution” after online calls first appeared. According to information documented by the group Chinese Human Rights Defenders, the Chinese government has criminally detained a total of 49 individuals, outside the Tibet and Xinjiang regions. As of today, nine of them have been formally arrested, three sent to Re-education through Labor (RTL) camps, 32 have been released but most of them not free: out of which 22 have been released on bail to await trial, while four remain in criminal detention. -
Copyright by James Joshua Hudson 2015
Copyright by James Joshua Hudson 2015 The Dissertation Committee for James Joshua Hudson Certifies that this is the approved version of the following dissertation: River Sands/Urban Spaces: Changsha in Modern Chinese History Committee: Huaiyin Li, Supervisor Mark Metzler Mary Neuburger David Sena William Hurst River Sands/Urban Spaces: Changsha in Modern Chinese History by James Joshua Hudson, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Dedication For my good friend Hou Xiaohua River Sands/Urban Spaces: Changsha in Modern Chinese History James Joshua Hudson, PhD. The University of Texas at Austin, 2015 Supervisor: Huaiyin Li This work is a modern history of Changsha, the capital city of Hunan province, from the late nineteenth to mid twentieth centuries. The story begins by discussing a battle that occurred in the city during the Taiping Rebellion (1850-1864), a civil war that erupted in China during the mid nineteenth century. The events of this battle, but especially its memorialization in local temples in the years following the rebellion, established a local identity of resistance to Christianity and western imperialism. By the 1890’s this culture of resistance contributed to a series of riots that erupted in south China, related to the distribution of anti-Christian tracts and placards from publishing houses in Changsha. During these years a local gentry named Ye Dehui (1864-1927) emerged as a prominent businessman, grain merchant, and community leader. -
Deng Xiaoping, Dazibao and Dissent: a Critical Analysis of the Xidan Democracy Wall Movement Jill Levine Vassar College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Window @Vassar Vassar College Digital Window @ Vassar Senior Capstone Projects 2013 Deng Xiaoping, Dazibao and Dissent: A Critical Analysis of the Xidan Democracy Wall Movement Jill Levine Vassar College, [email protected] Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Levine, Jill, "Deng Xiaoping, Dazibao and Dissent: A Critical Analysis of the Xidan Democracy Wall Movement" (2013). Senior Capstone Projects. Paper 163. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Levine 1 Deng Xiaoping, Dazibao and Dissent A Critical Analysis of the Xidan Democracy Wall Movement Jill Levine Vassar College Asian Studies April 8 2013 Peipei Qiu Fubing Su Levine 2 Table of Contents 1. Introduction: The Xidan Democracy Wall…………………………………………….1 2. Deng Xiaoping: Political Strategist……………………………………………………10 3. Intellectualism and Activism in Historical Perspective………………………………..29 4. Pluralism in Perspective: The Democracy Wall Activists……………………………..43 5. Conclusion: A Critical Approach to Historical Analysis……………………………....61 6. Works Cited…………………………………………………………………………….66 7. Appendix: Interview Transcripts……………………………………………………….71 I. Interview with Merle Goldman………………………………………………...71 II. Interview with Wei Jingsheng………………………………………………….75 III. Interview with Huang Xiang…………………………………………………...85 Levine 3 1. Introduction: The Xidan Democracy Wall “You walked here? This is not a very safe neighborhood,” said Huang Ciping. Ms. Huang, a dissident in her own right for speaking about against the 1989 Tiananmen Square massacre, is the director of the Washington D.C. -
TEMPORARY BOUNDARY a Survey on China Censured Videos and Photographs
TEMPORARY BOUNDARY A survey on China censured videos and photographs Video section curated by CIFA-China Independent Film Archive PRESS RELEASE GALERIE PARIS-BEIJING 62, rue de Turbigo 75003 Paris M°Arts et Métiers / Temple TEL: +33 (0)1 42 74 32 36 [email protected] www.galerieparisbeijing.com TEMPORARY BOUNDARY GROUP SHOW : A survey on China censured videos and photographs Video section curated by CIFA-China Independent Film Archive Chi Peng, Gao Brothers, Liu Bolin, Mo Yi, Ren Hang, Zhang Dali, Liu Wei, Wu Junyong, Ma Yong Feng, Huang Xiang, Jin Shan, Chen Shaoxiong, Jiang Zhi, Xu ong 07.11 - 19.12.2015 Opening 07.11 from 6 to 9 pm Tuesday-Saturday 11am-7pm Temporary Boundary is a curatorial project presented in two parts, revealing a selection of contemporary Chinese photographs and artist’s videos that have been censured in their own country. Galerie Paris-Beijing is very proud to host the curator of CIFA-China Independent Film Archive for the video part of the exhibition. Among the photographic works, the selection of which was conceived by Romain Degoul, the gallery’s Gao Brothers: since the 1980s, the two brothers have been practicing politi- cal satire through their pieces, which has brought them under close surveillance. Two guards are regularly posted at the entrance of their studio. The photograph Now-ing, by Chi Peng was censured right in the middle of the SH Contemporary fair in Shanghai, where the gallerist initially had to cover the work with a sheet before removing it… only to sell it to the censor’s friend, who was amused by the whole polemic! Such are the anecdotes that we recount through the exhibition. -
Download the Publication
NEWCOL D WEAR IVIDENCENTERNATIONAL HISTORY PROJECT ON BULLETIN 207 MAO ZEDONG’S HANDLING OF THE TAIWAN STRAITS CRISIS OF 1958: CHINESE RECOLLECTIONS AND DOCUMENTS Translated and Annotated by Li Xiaobing, Chen Jian, and David L. Wilson Translators’ Note: On 23 August 1958, as abruptly as it initiated it? For a long time, Guang Zhang, Deterrence and Strategic Cul- Chinese Communist forces in the Fujian scholars have been forced to resort to “edu- ture: Chinese-American Confrontations, area along the People’s Republic of China’s cated guesses” to answer these questions. 1949-1958 (Ithaca, NY: Cornell University Pacific Coast began an intensive artillery The materials in the following pages, Press, 1992), 225-267; Qiang Zhai, The bombardment of the Nationalist-controlled translated from Chinese, provide new in- Dragon, the Lion, and the Eagle: Chinese- Jinmen Island. In the following two months, sights for understanding Beijing’s handling British-American Relations, 1949-1958 several hundred thousand artillery shells of the Taiwan crisis. They are divided into (Kent, OH: Kent State University Press, exploded on Jinmen and in the waters around two parts. The first part is a memoir by Wu 1994), 178-207; and a forthcoming study by it. At one point, a Chinese Communist Lengxi, then the director of the New China Thomas Christensen to be published by invasion of the Nationalist-controlled off- News Agency and editor-in-chief of Renmin Princeton University Press.] shore islands, especially Jinmen (Quemoy) ribao (People’s Daily). Wu was personally Rendering Chinese- or English-lan- and Mazu (Matsu), seemed imminent. In involved in the decision-making process in guage materials into the other language is response to the rapidly escalating Commu- Beijing during the 1958 Taiwan crisis and difficult because the two languages have no nist threat in the Taiwan Straits, the attended several Politburo Standing Com- common linguistic roots. -
Singing Solo
Notes to this edition This is an electronic edition of the printed book. Minor corrections may have been made within the text; new information and any errata appear on the current page only. China Research Monograph 63 A Lifetime Is a Promise to Keep: Poems of Huang Xiang Michelle Yeh, editor and translator ISBN-13: 978-1-55729-152-3 (electronic) ISBN-13: 978-1-55729-096-0 (print) ISBN-10: 1-55729-096-2 (print) Please visit the IEAS Publications website at http://ieas.berkeley.edu/publications/ for more information and to see our catalogue. Send correspondence and manuscripts to Katherine Lawn Chouta, Managing Editor Institute of East Asian Studies 1995 University Avenue, Suite 510H Berkeley, CA 94720-2318 USA [email protected] May 2015 CHINA RESEARCH MONOGRAPH 63 INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA ● BERKELEY CENTER FOR CHINESE STUDIES A Lifetime Is a Promise to Keep Poems of Huang Xiang INTRODUCED AND TRANSLATED BY Michelle Yeh A publication of the Institute of East Asian Studies, University of California, Berkeley. Although the institute is responsible for the selection and acceptance of manuscripts in this series, responsibility for the opinions expressed and for the accuracy of statements rests with their authors. The China Research Monograph Series is one of the several publications series sponsored by the Institute of East Asian Studies in conjunction with its constituent units. The others include the Japan Research Monograph series, the Korea Research Monograph series, and the Research Papers and Policy Studies series. Send correspondence and manuscripts to Katherine Lawn Chouta, Managing Editor Institute of East Asian Studies 2223 Fulton Street, 6th Floor Berkeley, CA 94720-2318 [email protected] Library of Congress Cataloging-in-Publication Data Huang, Xiang, 1941- [Poems. -
The Place of Poetry in Contemporary Chinese and Igbo Politics
African Journal of Political Science and International Relations Vol. 5(6), pp. 271-282, June 2011 Available online at http://www.academicjournals.org/ajpsir ISSN 1996-0832 ©2011 Academic Journals Review The place of poetry in contemporary Chinese and Igbo politics Onukwube Alex Anedo Department of African and Asian Studies, Nnamdi Azikiwe University, Awka, Anambra State, Nigeria. E-mail: [email protected]. Accepted 8 April, 2011 This article is a study of Chinese and Igbo political poems and their significance in the socio-political interaction of both cultures. It gives examples of their political poetry. The paper traces their different political situations that gave rise to the songs under study. To the Igbo, the article, explains the Aba women protest to the tax and land policies of the British Administration, subsequent independence giving rise to formation of political parties along ethnic bias in Nigeria. For the Chinese, it gets into the Cultural Revolution and the message carried along through poetry. This paper divides the political poetry into three categories, promotional, derogatory, and protest. It gives examples of each and from the enterprise; one can confirm the effectiveness of this poetry as a weapon of social construction, how poems aid politicians in conveying their messages to the electorates of the two different political ideologies. It studies the use of languages to communicate emotions and feelings in poems. It emphasizes that there are poems for different purposes that include that of political. The paper also discusses the three main political poems, promotional, derogatory and protest political poetries. It concludes that political poetry has the capability to build as well as destroy. -
Full Article (PDF)
Cultural Reviews ing a great deal of material over the course can only find the right words when I think of of several years, he edited what he’d gath- that merciful and just God who is so far ered into a documentary called, “In Search away, and yet so close . As a Christian, In Search of the Soul of the Soul of Lin Zhao,” which revisits Lin my life belongs to my God. In order to per- of Lin Zhao Zhao’s short and tragic life. sist on my path, the path of a servant of Lin Zhao was born in 1932 in the south- God, this young person has paid a heavy BY JIN ZHONG ern city of Suzhou to a family that was physical and psychological price.” In April deeply concerned with China’s affairs. As a 1968, Lin Zhao was executed in secret. A new independent Chinese documentary secondary school student, she joined her She was 35 years old. relates the story of Lin Zhao, a political mother as a participant in the Communist Lin Zhao was rehabilitated in 1981. Of prisoner executed 35 years ago. The tragic underground movement. In 1954, her bril- the 800-odd Peking University students tale of “China’s Joan of Arc” is inspiring liant academic performance gained her who had been labeled rightists, she was reflection and self-examination among acceptance into Peking University’s Depart- the only one who chose to die rather than Chinese intellectuals. ment of Classical Chinese. In 1957, after to admit her error, and who left behind the she expressed disagreement with Mao vestiges and legacy of her protest. -
China Perspectives, 54 | July- August 2004 Subjective Writing in Contemporary Chinese Literature 2
China Perspectives 54 | July- August 2004 Varia Subjective Writing in Contemporary Chinese Literature The “I” has taken over from the “we” omnipresent until the late 1970s Jin Siyan Electronic version URL: http://journals.openedition.org/chinaperspectives/3032 DOI: 10.4000/chinaperspectives.3032 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 July 2004 ISSN: 2070-3449 Electronic reference Jin Siyan, « Subjective Writing in Contemporary Chinese Literature », China Perspectives [Online], 54 | July- August 2004, Online since 29 December 2008, connection on 28 October 2019. URL : http:// journals.openedition.org/chinaperspectives/3032 ; DOI : 10.4000/chinaperspectives.3032 This text was automatically generated on 28 October 2019. © All rights reserved Subjective Writing in Contemporary Chinese Literature 1 Subjective Writing in Contemporary Chinese Literature The “I” has taken over from the “we” omnipresent until the late 1970s Jin Siyan EDITOR'S NOTE Translated from the French original by Peter Brown 1 In twentieth century Chinese literature, we find writers expressing several forms of subjectivity characterised as “ziwo” (I), “xiaowo” (small I), “dawo” (capital I),“wangwo” (I to be forgotten), as well as “wuwo” (no I). The “capital I” and the “I to be forgotten” are characteristic of the “art for life” school of authors, which had its zenith in the 1950s and 1960s. The “ziwo” and “xiaowo” are both expressions of the “art for art’s sake” and the “ziwo de zhutixing” (the subjectivity of the I), movements of the late 1970s. The purpose of the present article is to analyse this subjective writing that underlies Chinese literary modernity–a problematic that has been little explored1. -
Snapshots of the Chinese Poetry Scene
MCLC RESOURCE CENTER Modern Chinese Literature and Culture Walk on the Wild Side: Snapshots of the Chinese Poetry Scene by Maghiel van Crevel MCLC Resource Center Publication (Copyright December 2017) OUT OF HAND 1 DO IT YOURSELF 11 WHO IS HERE? 29 UNTRANSLATABLES 46 IN AND OUT 56 WORKS CITED 59 INDEX OF NAMES IN CHINESE 66 OUT OF HAND *,1 Z h e n g Z h o u , 11 J u n e 2017. It is seven a m when Wuliaoren texts me on WeChat that he is 1. freaking out and coming over from Beijing right now, because word is that Dianqiu Gujiu has died. I am in the middle of organizing yesterday’s fieldnotes, in one of several dozen Scandinavian log cabins that are lined up way too neatly for Scandinavian log cabins, in the Yellow River Leisure Gardens. Replete with restaurants, meeting rooms, and dreamy lakes that double as fishing ponds, the resort lies just outside the city. Lang Mao is hosting a poets’ conference here, in a display of hospitality and wealth and perhaps to ensure that any overly “poetic” behavior hap- pens in a discreet location. Last night’s program included live music, with singer Qin Yong inviting the audience to text him improvised poetry for in- stant performance. Dianqiu was all over the place, bouncing back and forth between the tables and Guan Dangsheng’s post. the stage, drinking like a fish and making merry like there was no tomorrow. Just after midnight, when all but the most hardcore party elements had retired, a WeChat post announced his sudden passing from a cerebral hemor- rhage caused by over-excitement and excessive alcohol intake.