Introduction 1
Notes Introduction 1. For example, David Harvey, A Brief History of Neoliberalism (Oxford: Oxford University Press, 2005), 151. 2. See Edward Wong, “China’s President Lashes Out at Western Culture,” New York Times, January 3, 2012, http://www.nytimes.com/2012/01/04/world/asia/ chinas-president-pushes-back-against-western-culture.html (accessed March 23, 2012). 3. In their 1989 edited volume, the original Chinese term of unofficial is wu guan- fang 無官方 or fei zhengtong 非正統, and the three editors definepopular culture as any kind of culture, including any idea, belief, and practice that “has its origin in the social side of the tension between state and society” and has “origins at least partially independent of the state.” The topics discussed in the book are something that “the government has wanted to suppress or sought to discour- age . ., or pretended to ignore . ., or warily tried to co-opt.” See Perry Link, Richard Madsen, and Paul Pickowicz, eds., Unofficial China: Popular Culture and Thought in the People’s Republic (Boulder, CO: Westview Press, 1989), 5. In their 2002 edited volume, they once again belittle the state’s role in the production of popular culture and propose an emphasis on different aspects of globalization that they argue to have stronger centrality than the state in shaping tension in popular culture. This time they analyze “a variety of relatively uncensored forms of expression and communication” such as shunkouliu, which Perry Link and Kate Zhou claim contain popular thought and sentiment. Perry Link, Richard Madsen, and Paul Pickowicz, eds., Popular China: Unofficial Culture in a Glo- balizing Society (Lanham, MD: Rowman and Littlefield, 2002), 1, 3.
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