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Fragmenting Modernisms China Studies Edited by Glen Dudbridge Frank Pieke VOLUME 24 The titles published in this series are listed at brill.com/CHS Fragmenting Modernisms Chinese Wartime Literature, Art, and Film, 1937–49 By Carolyn FitzGerald LEIDEn • bOSTON 2013 Cover illustration: Ye Qianyu, “Stage Set,” from the 1940 sketch-cartoon series Wartime Chongqing. Library of Congress Cataloging-in-Publication Data FitzGerald, Carolyn. Fragmenting modernisms : Chinese wartime literature, art, and film, 1937-49 / by Carolyn FitzGerald. pages cm. — (China studies ; v. 24) Includes bibliographical references and index. ISBN 978-90-04-25098-7 (hardback : alk. paper) — ISBN 978-90-04-25099-4 (e-book) 1. Chinese literature—20th century—History and criticism. 2. Sino-Japanese War, 1937–1945—Literature and the war. 3. Sino-Japanese War, 1937–1945—Art and the war. 4. China—History—Civil War, 1945–1949—Literature and the war. 5. China—History— Civil War, 1945–1949—Art and the war. 6. Motion pictures—China—History—20th century. 7. Art, Chinese—20th century. 8. Modernism (Literature)—China. 9. Modernism (Art)— China. I. Title. PL2302.F58 2013 895.1’09005—dc23 2013003681 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1570-1344 ISBN 978-90-04-25098-7 (hardback) ISBN 978-90-04-25099-4 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. -
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. -
HKUST Institutional Repository
The Dance of Revolution: Yangge in Beijing in the Early 1950s* Chang-tai Hung ABSTRACT Yangge is a popular rural dance in north China. In the Yan’an era (1936–47) the Chinese Communist Party used the art form as a political tool to influence people’s thinking and to disseminate socialist images. During the early years of the People’s Republic of China, the Communists introduced a simpler form of yangge in the cities. In three major yangge musicals performed in Beijing, the Party attempted to construct “a narrative history through rhythmic movements” in an effort to weave the developments of the Party’s history into a coherent success story, affirming various themes: the support of the people, the valour of the Red Army, the wise leadership of the Party and the country’s bright future. However, urban yangge’s simplicity as an art form, the professionalization of art troupes, the nation’s increas- ing exposure to a variety of alternative dance forms and, worse still, stifling government control all contributed to the rapid decline of this art form in urban China. Unlike the Bolsheviks, who at the time of the October Revolution of 1917 had little experience with political art forms, the Chinese Communists, before their seizure of power in 1949, had skilfully employed the popular art media to conduct an effective propaganda campaign among the mostly illiterate peasant inhabitants of rural China. The story of their use of such rural art forms as storytelling and yangge dance as a political tool during the Yan’an era (1936–47) is now relatively well known.1 Yet their use in the post-Yan’an period, particularly after the establishment of the Peo- ple’s Republic of China (PRC) in1949, has rarely been examined. -
Originally, the Descendants of Hua Xia Were Not the Descendants of Yan Huang
E-Leader Brno 2019 Originally, the Descendants of Hua Xia were not the Descendants of Yan Huang Soleilmavis Liu, Activist Peacepink, Yantai, Shandong, China Many Chinese people claimed that they are descendants of Yan Huang, while claiming that they are descendants of Hua Xia. (Yan refers to Yan Di, Huang refers to Huang Di and Xia refers to the Xia Dynasty). Are these true or false? We will find out from Shanhaijing ’s records and modern archaeological discoveries. Abstract Shanhaijing (Classic of Mountains and Seas ) records many ancient groups of people in Neolithic China. The five biggest were: Yan Di, Huang Di, Zhuan Xu, Di Jun and Shao Hao. These were not only the names of groups, but also the names of individuals, who were regarded by many groups as common male ancestors. These groups first lived in the Pamirs Plateau, soon gathered in the north of the Tibetan Plateau and west of the Qinghai Lake and learned from each other advanced sciences and technologies, later spread out to other places of China and built their unique ancient cultures during the Neolithic Age. The Yan Di’s offspring spread out to the west of the Taklamakan Desert;The Huang Di’s offspring spread out to the north of the Chishui River, Tianshan Mountains and further northern and northeastern areas;The Di Jun’s and Shao Hao’s offspring spread out to the middle and lower reaches of the Yellow River, where the Di Jun’s offspring lived in the west of the Shao Hao’s territories, which were near the sea or in the Shandong Peninsula.Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records. -
Raiding the Garden and Rejecting the Family
Raiding the Garden and Rejecting the Family A Narratology of Scene in The Dream of the Red Chamber Zhonghong Chen Department of Culture Studies and Oriental Languages UNIVERSITETET I OSLO Autumn 2014 II Raiding the Garden and Rejecting the Family: A Narratology of Scene in the Dream of Red Chamber A Master Thesis III © Zhonghong Chen 2014 Raiding the Garden and Rejecting the Family: A Narratology of Scene in the Dream of Red Chamber Zhonghong Chen http://www.duo.uio.no/ Printed by Reprosentralen, Universitetet i Oslo IV Summary By conducting a close reading and a structural analysis, this thesis explores a narratology of “scene” in the novel Dream of the Red Chamber(Honglou meng《红楼梦》). The terminology of “scene” in the Western literary criticism usually refers to “a structual unit in drama” and “a mode of presentation in narrative”. Some literature criticists also claim that “scene” refers to “a structural unit in narrative”, though without further explanation. One of the main contributions of this theis is to define the term of “scene”, apply it stringently to the novel, Honglou meng, and thus make a narratology of “scene” in this novel. This thesis finds that “scene” as a structural unit in drama is characterized by a unity of continuity of characters, time, space and actions that are unified based on the same topic. “Topic” plays a decisive role in distinguishing “scenes”. On the basis of the definition of the term of “scene”, this theis also reveals how “scenes” transfer from each other by analyzing “scene transitions”. This thesis also finds that the characteristic of the narration in Honglou meng is “character-centered” ranther than “plot-centered”, by conducting research on the relationship between “scene”, “chapter” and “chapter title”. -
From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance
1 From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance Dong d-dong, dong d-dong. A gong sounds as the camera fixes on an empty stage set with an arched footbridge and blossoming tree branch. Dai Ailian emerges dressed in a folkloric costume of red balloon pants and a rose-colored silk jacket, a ring of red flowers in her hair and shoes topped with red pom-poms. Puppetlike, two false legs kick out from under the back of Dai’s jacket, while the false torso and head of an old man hunch forward in front of her chest, creating the illusion of two characters: an old man carrying his young wife on his back. This dance is Dai’s adaptation of “The Mute Carries the Cripple” (Yazi bei feng), a comic sketch performed in several regional variations of xiqu, or Chinese traditional theater (video 1). This particular version is derived from Gui opera(Guiju), a type of xiqu specific to Guangxi Autonomous Region in south China. Dai demonstrates her dance skill by isolating her upper body and lower body, so that her pelvis and legs convincingly portray the movements of an old man while her torso, arms, and head those of a young woman. As the man, Dai takes wide sweeping steps, kicking, squatting, and balancing with her feet flexed and knees bent between steps, occa- sionally lurching forward as if struggling to balance under the weight of the female rider. As the woman, Dai grips the old husband’s shoulders with one hand while she lets her head bob from side to side, her eyes sparkling as she uses her free hand to twirl a fan, point to things in her environment, and dab the old man’s forehead with a handkerchief. -
GENERAL PLENARY MEETING ASSEMBLY Tuesday, 8 December 1953, EIGHTH SESSION at 2.45 P.M
United Nations 4·70th GENERAL PLENARY MEETING ASSEMBLY Tuesday, 8 December 1953, EIGHTH SESSION at 2.45 p.m. Official Records New York CONTENTS Brazil and India. In that draft it is proposed that the General Assembly should resolve to recess the eighth The Korean question: (a) report of the United Nations session and request the President of the General Commission for the Unification and Rehabilitation of Assembly to reconvene the session under specified con Korea: report of the First Committee 443 ditions. Election of two members of the Committee on Information from Non-Self-Governing Territories: report of the 6. During the discussion in the First Committee, it Fourth Committee 446 was pointed out that certain serious difficulties had Complaint by the Union of Burma regarding aggression arisen in the negotiations at Panmunjom, Mr. Menon, against it by the Government of the Republic of China: one of the authors of the present draft resolution, report of the First Committee 447 pointed out, on the basis of information he had re Address iby Mr. Dwight D. Eisenhower, President of the ceived from Panmunjom, that although the position United States of America 450 with regard to the negotiations in Korea was not catastrophic, it was extremely serious. The representa tive of the United States, Mr. Lodge, also pointed out President: Mrs. Viiaya Lakshmi PANDIT (India). that serious difficulties had arisen at Panmunjom, 7. The very difficult situation which had developed in the negotiations there is also referred to in the letter The Korean question: (a) report of the United [A/2616] from the Minister of Foreign Affairs of the Nations Commission for the Unification and People's Republic of China, Mr. -
Dreams of Timeless Beauties: a Deconstruction of the Twelve Beauties of Jinling in Dream of the Red Chamber and an Analysis of Their Image in Modern Adaptations
Dreams of Timeless Beauties: A Deconstruction of the Twelve Beauties of Jinling in Dream of the Red Chamber and an Analysis of Their Image in Modern Adaptations Xiaolu (Sasha) Han Submitted in Partial Fulfillment of the Prerequisite for Honors in East Asian Studies April 2014 ©2014 Xiaolu (Sasha) Han Acknowledgements First of all, I thank Professor Ellen Widmer not only for her guidance and encouragement throughout this thesis process, but also for her support throughout my time here at Wellesley. Without her endless patience this study would have not been possible and I am forever grateful to be one of her advisees. I would also like to thank the Wellesley College East Asian Studies Department for giving me the opportunity to take on such a project and for challenging me to expand my horizons each and every day Sincerest thanks to my sisters away from home, Amy, Irene, Cristina, and Beatriz, for the many late night snacks, funny notes, and general reassurance during hard times. I would also like to thank Joe for never losing faith in my abilities and helping me stay motivated. Finally, many thanks to my family and friends back home. Your continued support through all of my endeavors and your ability to endure the seemingly endless thesis rambles has been invaluable to this experience. Table of Contents INTRODUCTION ....................................................................................... 3 CHAPTER 1: THE PAIRING OF WOOD AND GOLD Lin Daiyu ................................................................................................. -
When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950S and 1960S
China Perspectives 2020-1 | 2020 Sights and Sounds of the Cold War in Socialist China and Beyond When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s Emily Wilcox Electronic version URL: https://journals.openedition.org/chinaperspectives/9947 DOI: 10.4000/chinaperspectives.9947 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 March 2020 Number of pages: 33-42 ISSN: 2070-3449 Electronic reference Emily Wilcox, “When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s”, China Perspectives [Online], 2020-1 | 2020, Online since 01 March 2021, connection on 02 July 2021. URL: http://journals.openedition.org/ chinaperspectives/9947 ; DOI: https://doi.org/10.4000/chinaperspectives.9947 © All rights reserved Special feature china perspectives When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s EMILY WILCOX ABSTRACT: This article challenges three common assumptions about Chinese socialist-era dance culture: first, that Mao-era dance rarely circulated internationally and was disconnected from international dance trends; second, that the yangge movement lost momentum in the early years of the People’s Republic of China (PRC); and, third, that the political significance of socialist dance lies in content rather than form. This essay looks at the transformation of wartime yangge into PRC folk dance during the 1950s and 1960s and traces the international circulation of these new dance styles in two contexts: the World Festivals of Youth and Students in Eastern Europe, and the schools, unions, and clan associations of overseas Chinese communities in Hong Kong, Singapore, Malaysia, and San Francisco. -
The Battle for China
The Battle for China ESSAYS ON THE MILITARY HISTORY OF THE SINO-JAPANESE WAR OF 1937-1945 Edited by Mark Peattie, Edward J. Drea, and Hans van de Ven STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA There is no instance of a nation benefiting from prolonged warfare. Stanford University Press Stanford, California —Sunzi ©2.011 by the Board of Trustees of the Leland Stanford Junior University. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permis- sion of Stanford University Press. Maps produced by David Rennie. Japan photographs reproduced with permission of AFLO/Mainichi Shimbun. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data The battle for China : essays on the military history of the Sino-Japanese War of 1937-1945 / edited by Mark Peattie, Edward Drea, and Hans van de Ven. p. cm. Includes bibliographical references and index. ISBN 978-0-8047-6206-9 (cloth : alk. paper) i. Sino-Japanese War, 1937-1945—Campaigns—China, i. China— History, Military—1912-1949. 3. Japan—History, Military—1868-1945. I. Peattie, Mark R., 1930- II. Drea, Edward J., 1944- III. Van de Ven, Hans J. 05777.53.6337 2011 940.54*251—dczz 1010042047 Typeset by BookMatters in 10/12.5 Sabon W Chinese Operations in INDIA North Burma f \ Overview of Major Military Campaigns October 1943 - March 1945 during the Sino-Japanese War, i937-I945 • —'^ Chinese Offensives o> Japanese Strongpoints EDWARD J. -
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On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze Age, ca. 1000-500 B.C.E Minna Wu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMIBIA UNIVERSITY 2013 @2013 Minna Wu All rights reserved ABSTRACT On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze-Age, ca. 1000-500 B.C.E. Minna Wu The Shandong region has been of considerable interest to the study of ancient China due to its location in the eastern periphery of the central culture. For the Western Zhou state, Shandong was the “Far East” and it was a vast region of diverse landscape and complex cultural traditions during the Late Bronze-Age (1000-500 BCE). In this research, the developmental trajectories of three different types of secondary states are examined. The first type is the regional states established by the Zhou court; the second type is the indigenous Non-Zhou states with Dong Yi origins; the third type is the states that may have been formerly Shang polities and accepted Zhou rule after the Zhou conquest of Shang. On the one hand, this dissertation examines the dynamic social and cultural process in the eastern periphery in relation to the expansion and colonization of the Western Zhou state; on the other hand, it emphasizes the agency of the periphery during the formation of secondary states by examining how the polities in the periphery responded to the advances of the Western Zhou state and how local traditions impacted the composition of the local material assemblage which lay the foundation for the future prosperity of the regional culture. -
Private Life and Social Commentary in the Honglou Meng
University of Pennsylvania ScholarlyCommons Honors Program in History (Senior Honors Theses) Department of History March 2007 Authorial Disputes: Private Life and Social Commentary in the Honglou meng Carina Wells [email protected] Follow this and additional works at: https://repository.upenn.edu/hist_honors Wells, Carina, "Authorial Disputes: Private Life and Social Commentary in the Honglou meng" (2007). Honors Program in History (Senior Honors Theses). 6. https://repository.upenn.edu/hist_honors/6 A Senior Thesis Submitted in Partial Fulfillment of the Requirements for Honors in History. Faculty Advisor: Siyen Fei This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hist_honors/6 For more information, please contact [email protected]. Authorial Disputes: Private Life and Social Commentary in the Honglou meng Comments A Senior Thesis Submitted in Partial Fulfillment of the Requirements for Honors in History. Faculty Advisor: Siyen Fei This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hist_honors/6 University of Pennsylvania Authorial Disputes: Private Life and Social Commentary in the Honglou meng A senior thesis submitted in partial fulfillment of the requirements for Honors in History by Carina L. Wells Philadelphia, PA March 23, 2003 Faculty Advisor: Siyen Fei Honors Director: Julia Rudolph Contents Acknowledgements………………………………………………………………………...i Explanatory Note…………………………………………………………………………iv Dynasties and Periods……………………………………………………………………..v Selected Reign