View / Download 3.7 Mb

Total Page:16

File Type:pdf, Size:1020Kb

View / Download 3.7 Mb The People’s Republic of Capitalism: The Making of the New Middle Class in Post-Socialist China, 1978-Present by Ka Man Calvin Hui Program in Literature Duke University Date:_______________________ Approved: ___________________________ Rey Chow, Supervisor ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ Robyn Wiegman ___________________________ Leo Ching Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2013 i v ABSTRACT The People’s Republic of Capitalism: The Making of the New Middle Class in Post-Socialist China, 1978-Present by Ka Man Calvin Hui Program in Literature Duke University Date:_______________________ Approved: ___________________________ Rey Chow, Supervisor ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ Robyn Wiegman ___________________________ Leo Ching An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2013 Copyright by Ka Man Calvin Hui 2013 Abstract My dissertation, “The People’s Republic of Capitalism: The Making of the New Middle Class in Post-Socialist China, 1978-Present,” draws on a range of visual cultural forms – cinema, documentary, and fashion – to track the cultural dimension of the emergence of the new middle class subject in China’s encounter with global capitalism. Through cultural studies methodologies and critical theoretical practices, I explore the massive reorganization of national subjectivity that has accompanied the economic reforms since 1978. How, I ask, has the middle class replaced the proletariat as the dominant subject of Chinese history? What are the competing social forces that contribute to the making of the new middle class subject, and how do they operate? By considering these questions in terms of the cultural cultivation of new sensibilities as much as identities, I trace China’s changing social formations through the realm of cultural productions. This project is organized into three parts, each of which attends to a particular constellation of middle class subjectivities and ideologies. In Part I (Introduction and Chapter 1), I explore how the Chinese middle class subject is shaped by historical, political-economic, and cultural forces. I show that the new social actor is structurally dependent on the national and transnational bourgeoisie and the post- socialist party-state. In Part II (Chapters 2-5), I focus on the relationship among fashion, iv media, and Chinese consumer culture in the socialist and post-socialist eras. By engaging with films such as Xie Tieli’s Never Forget (1964), Huang Zumo’s Romance on Lushan (1980), Qi Xingjia’s Red Dress is in Fashion (1984), and Jia Zhangke’s The World (2004) and Useless (2007), I suggest that the representation of fashion and consumption in Chinese cinema, documentary, and new media is a privileged site for deciphering otherwise imperceptible meanings of class, ideology, and history in the formation of the Chinese middle class subject. In Part III (Chapter 6), I attend to the repressed underside of Chinese consumer culture: rubbish. This project reorients our understanding of socialist and post-socialist China, seeing them as underpinned by the contradictions emblematized in the Chinese middle class. v Acknowledgements I have had the good fortune to pursue my doctotal studies in the Graduate Program in Literature at Duke. I would like to express my gratitude to the members of my superb dissertation committee – Rey Chow, Michael Hardt, Fredric Jameson, Robyn Wiegman, and Leo Ching – for their profound intellectual inspiration, guidance, support, and generosity over the years. I would also like to thank the members of my dissertation writing group, including Gerry Canavan, Lisa Klarr, and Timothy Wright, and my good friends Hongsheng Jiang, Koonyong Kim, and Simon Milnes, and others for providing a vigorous intellectual community over the years. I dedicate this dissertation to my parents, with my love. vi Contents Abstract ......................................................................................................................................... iv Acknowledgements ..................................................................................................................... vi Introduction ................................................................................................................................... 1 1. Learning to Love Again: The Libidinal and the Political in Huang Zumo's Romance on Lushan Mountain (1980) .............................................................................................................. 35 2. Wearing Class Struggle, Putting on Ideology: Fashion, Consumption, and History in Xie Tieli's Film Never Forget (1964)............................................................................................ 89 3. "Mao's Children Are Wearing Fashion!" ............................................................................ 154 4. Class, Gender, Fantasy, and Globalization in Jia Zhangke's The World (2004) ............. 225 5. Dirty Fashion ......................................................................................................................... 257 6. Rubbish! .................................................................................................................................. 298 Appendix ................................................................................................................................... 357 References .................................................................................................................................. 387 Biography ................................................................................................................................... 406 vii Introduction My project engages with the profound transformations of Chinese culture and society as a result of China’s economic reforms. During the socialist era (1949-1976), the proletariat – an alliance of workers, peasants and soldiers collectively engaged in continuous revolution and class struggle – was presented as the dominant subject of Chinese history and culture. During the Cultural Revolution in the 1960s and 1970s, the words “bourgeoisie” and “petty bourgeoisie” had very negative connotations, owing to their association with imperialist and capitalistic exploitation. In the 1980s, the intellectuals were called upon by the post-socialist party-state to be the vanguard of China’s capitalistic modernization and promote “socialism with Chinese characteristics.” By the 2000s, the new social hierarchy featured a super-rich business elite allied to the ruling Communist Party, a vast and impoverished migrant labor force, and in-between, an economically empowered and aspirant middle class. A curious anomaly in the communist regime, the Chinese middle class – the bourgeoisie (“zichanjieji”) (資产阶級), petty bourgeoisie (“xiaozichanjieji” or “xiaozi”) (小資产阶級/小資), middle-propertied class or middle class (“zhongchanjieji”) (中产阶級), and its many variations, such as middle (“zhongjian”) (中間), middle-range (“zhongdeng”) (中等), and class (“jieji”) (阶級 ), stratum (“jieceng”) (阶层), group (“qunti”) (群体), and its evasion, the modestly prosperous or well-to-do (“xiaokang”) (小康) – had just emerged onto the social scene 1 and was reshaping China in radically new ways. As a symbol of China’s rise in the 21st century, the Chinese middle class embodied overwhelmingly positive connotations: modernity, upward mobility, education, professionalization, leisure, cultural taste, and a tacit sense that the long-cherished desire to become like the U.S. was close to being realized.1 However, the emergence of this new social subject is beset by contradictions. These tensions are vividly articulated in the cultural scene, where fiction writers, film directors, documentary makers, fashion designers, television and radio presenters, newspaper columnists, and bloggers and “weibo” (the Chinese twitter) enthusiasts debate on China’s future. Indeed, cultural production has played a pivotal role in social change in China since the May Fourth movement in 1919. Before the founding of the 1 For the representation of the rise of the new Chinese middle class in the U.S. media, see the TV documentaries including Michael Murphy’s China Rises (2006) (especially Episode 1 “Getting Rich” and Episode 2 “City of Dreams”), Sue Williams’ Young and Restless in China (2008), Ted Koppel’s People’s Republic of Capitalism (2009), and Jonathan Lewis’ China From the Inside (2006). For the purpose of my research, China Rises and Young and Restless in China are more useful. For the media in Japan, see NHK’s TV documentary, 激流中国, especially the episode about the rich and the migrant worker (富 人与农民工). For the media in Hong Kong, see RTHK’s TV documentary, Zhong chan xin yi dai (The New Generation of the Middle Class) (中產新一代) (2003) – including 適逢其時, 消 費浪潮, 力爭上游, 成龍成鳳, 金錢以外. Also, see Hong Kong magazine Yazhou Zhoukan (亞洲 周刊) (Issue: February 11-17, 2002 – about the “zhongchan jieji” [middle class]; and another issue about the “xiaozi” [petty bourgeoisie] [Website: http://www.yzzk.com/cfm/main.cfm].) For media in mainland China, see, for example, Sanlian shenhuo shoukan
Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • April 12, 1967 Discussion Between Zhou Enlai, Chen Yi, Pham Van Dong and Vo Nguyen Giap
    Digital Archive digitalarchive.wilsoncenter.org International History Declassified April 12, 1967 Discussion between Zhou Enlai, Chen Yi, Pham Van Dong and Vo Nguyen Giap Citation: “Discussion between Zhou Enlai, Chen Yi, Pham Van Dong and Vo Nguyen Giap,” April 12, 1967, History and Public Policy Program Digital Archive, CWIHP Working Paper 22, "77 Conversations." http://digitalarchive.wilsoncenter.org/document/112156 Summary: Zhou Enlai discusses the class struggle present in China. Original Language: Chinese Contents: English Translation ZHOU ENLAI, CHEN YI AND PHAM VAN DONG, VO NGUYEN GIAP Beijing, 12 April 1967 Zhou Enlai: …In the past ten years, we were conducting another war, a bloodless one: a class struggle. But, it is a matter of fact that among our generals, there are some, [although] not all, who knew very well how to conduct a bloody war, [but] now don’t know how to conduct a bloodless one. They even look down on the masses. The other day while we were on board the plane, I told you that our cultural revolution this time was aimed at overthrowing a group of ruling people in the party who wanted to follow the capitalist path. It was also aimed at destroying the old forces, the old culture, the old ideology, the old customs that were not suitable to the socialist revolution. In one of his speeches last year, Comrade Lin Biao said: In the process of socialist revolution, we have to destroy the “private ownership” of the bourgeoisie, and to construct the “public ownership” of the proletariat. So, for the introduction of the “public ownership” system, who do you rely on? Based on the experience in the 17 years after liberation, Comrade Mao Zedong holds that after seizing power, the proletariat should eliminate the “private ownership” of the bourgeoisie.
    [Show full text]
  • China in 50 Dishes
    C H I N A I N 5 0 D I S H E S CHINA IN 50 DISHES Brought to you by CHINA IN 50 DISHES A 5,000 year-old food culture To declare a love of ‘Chinese food’ is a bit like remarking Chinese food Imported spices are generously used in the western areas you enjoy European cuisine. What does the latter mean? It experts have of Xinjiang and Gansu that sit on China’s ancient trade encompasses the pickle and rye diet of Scandinavia, the identified four routes with Europe, while yak fat and iron-rich offal are sauce-driven indulgences of French cuisine, the pastas of main schools of favoured by the nomadic farmers facing harsh climes on Italy, the pork heavy dishes of Bavaria as well as Irish stew Chinese cooking the Tibetan plains. and Spanish paella. Chinese cuisine is every bit as diverse termed the Four For a more handy simplification, Chinese food experts as the list above. “Great” Cuisines have identified four main schools of Chinese cooking of China – China, with its 1.4 billion people, has a topography as termed the Four “Great” Cuisines of China. They are Shandong, varied as the entire European continent and a comparable delineated by geographical location and comprise Sichuan, Jiangsu geographical scale. Its provinces and other administrative and Cantonese Shandong cuisine or lu cai , to represent northern cooking areas (together totalling more than 30) rival the European styles; Sichuan cuisine or chuan cai for the western Union’s membership in numerical terms. regions; Huaiyang cuisine to represent China’s eastern China’s current ‘continental’ scale was slowly pieced coast; and Cantonese cuisine or yue cai to represent the together through more than 5,000 years of feudal culinary traditions of the south.
    [Show full text]
  • Electric Shadows PK
    ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish.
    [Show full text]
  • Signature Redacted Author
    A, Redesigning Rural Life: Relocation and In Situ Urbanization in a Shandong _77 Village OF TECH UTE0.y by JUL 2 92014 Saul Kriger Wilson LIBRARIES Submitted to the School of Humanities, Arts and Social Sciences in partial fulfillment of the requirements for the degree of Bachelor of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 2014 Massachusetts Institute of Technology 2014. All rights reserved. Signature redacted Author........... Major Departure in Humanities: Asian and Asian Diaspora Studies Department of Mathematics Signature redacted July 9, 2014 Certified by. Yasheng Huang Professor of Global Economics and Management Sloan School of Management Signature redacted Thesis Supervisor Accepted by Ian Condry Chairman /i / Deportment of Global Studies and Languages Accepted by .. Signature redacted ............ Deborah Fitzgerald Kenan Sahin Dean School of Humanities, Arts, and Social Sciences 2 Redesigning Rural Life: Relocation and In Situ Urbanization in a Shandong Village by Saul Kriger Wilson Submitted to the School of Humanities, Arts and Social Sciences on July 9, 2014, in partial fulfillment of the requirements for the degree of Bachelor of Science Abstract The Chinese government's attempts to improve village public service provision, limit the loss of arable land, and coordinate urbanization have converged in land readjust- ment schemes to rebuild some villages as more densely populated "rural communities." I present a case study on a financially troubled, partially complete village reconstruc- tion project in Shandong. Villagers outside the leadership were minimally involved in project planning, and the village leadership put pressure on villagers to move. How- ever, the pressure to move was not due to an absence of formal property rights for villagers; reluctant villagers agreed to move because they could not afford to offend the village government.
    [Show full text]
  • Deng Xiaoping in the Making of Modern China
    Teaching Asia’s Giants: China Crossing the River by Feeling the Stones Deng Xiaoping in the Making of Modern China Poster of Deng Xiaoping, By Bernard Z. Keo founder of the special economic zone in China in central Shenzhen, China. he 9th of September 1976: The story of Source: The World of Chinese Deng Xiaoping’s ascendancy to para- website at https://tinyurl.com/ yyqv6opv. mount leader starts, like many great sto- Tries, with a death. Nothing quite so dramatic as a murder or an assassination, just the quiet and unassuming death of Mao Zedong, the founding father of the People’s Republic of China (PRC). In the wake of his passing, factions in the Chinese Communist Party (CCP) competed to establish who would rule after the Great Helmsman. Pow- er, after all, abhors a vacuum. In the first corner was Hua Guofeng, an unassuming functionary who had skyrocketed to power under the late chairman’s patronage. In the second corner, the Gang of Four, consisting of Mao’s widow, Jiang September 21, 1977. The Qing, and her entourage of radical, leftist, Shanghai-based CCP officials. In the final corner, Deng funeral of Mao Zedong, Beijing, China. Source: © Xiaoping, the great survivor who had experi- Keystone Press/Alamy Stock enced three purges and returned from the wil- Photo. derness each time.1 Within a month of Mao’s death, the Gang of Four had been imprisoned, setting up a showdown between Hua and Deng. While Hua advocated the policy of the “Two Whatev- ers”—that the party should “resolutely uphold whatever policy decisions Chairman Mao made and unswervingly follow whatever instructions Chairman Mao gave”—Deng advocated “seek- ing truth from facts.”2 At a time when China In 1978, some Beijing citizens was reexamining Mao’s legacy, Deng’s approach posted a large-character resonated more strongly with the party than Hua’s rigid dedication to Mao.
    [Show full text]
  • A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle
    Temporality, Nature Morte, and the Filmmaker: A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle In the world of contemporary Chinese cinema, Jia Zhangke is, in many respects, an exception to the rule: he is a director whose films almost without fail depict the lower classes or, the majority of society; a director who has continually, from the start, been dedicated to making art films; a director who has fulfilled his social responsibilities as an artist while developing an original mode of artistic expression; a director who has made the transition from independent underground films to commercial mainstream films without losing his vitality, and without suffering exclusion from western film festivals; a director famous for his autobiographical narratives who has finally “grown up”, and who has successfully drawn on his experiences to explore broader social issues. As long as China’s fifth generation filmmakers continue to make commercial compromises, and the sixth generation remains stuck – have grown but not matured in terms of style and modes of expression – Jia Zhangke will remain an exception, or even “one of a kind.” Actually, after the period in which Chen Kaige’s Yellow Earth and Zhang Yimou’s films had become synonymous with the moniker “Chinese cinema” and after Zhang Yuan’s nomination of “underground cinema” to refer to what Europeans think of as “Chinese cinema” – both post-Cold War but still Cold War-style designations, the release of Platform and the inverted portrait of Mao on the film poster unexpectedly heralded the arrival of the “Jia Zhangke era” of Chinese cinema in the new millenium’s international film world, as represented primarily by European film festivals and American film studies classes.
    [Show full text]
  • Travel Give Into Your Wanderlust 广告
    广告 July 2020 Plus: A Beijing Family Scavenger Hunt Insider Knowledge: Put Your Trust in Beijing’s Best Local Tour Guides and Really Explore The City You Call Home Travel Give Into Your Wanderlust 广告 July 2020 Plus: A Beijing Family Scavenger Hunt Insider Knowledge: Put Your Trust in Beijing’s Best Local Tour Guides and Really Explore The City You Call Home Travel Give Into Your Wanderlust WOMEN OF CHINA WOMEN July 2020 PRICE: RMB¥10.00 US$10 Plus: A Beijing Family Scavenger O Hunt 《中国妇女》 Insider Knowledge: Put Your Trust in Beijing’s Beijing’s essential international family resource resource family international essential Beijing’s Best Local Tour Guides and Really Explore The City You Call Home 国际标准刊号:ISSN 1000-9388 国内统一刊号:CN 11-1704/C July 2020 July Travel Give Into Your Wanderlust 广告 广告 WOMEN OF CHINA English Monthly Editors 编辑 Advertising 广告 《中 国 妇 女》英 文 月 刊 GU WENTONG 顾文同 LIU BINGBING 刘兵兵 WANG SHASHA 王莎莎 HE QIUJU 何秋菊 编辑顾问 Sponsored and administrated by Editorial Consultant Program 项目 All-China Women's Federation ROBERT MILLER(Canada) ZHANG GUANFANG 张冠芳 罗 伯 特·米 勒( 加 拿 大) 中华全国妇女联合会主管/主办 Published by Layout 设计 ACWF Internet Information and Deputy Director of Reporting Department FANG HAIBING 方海兵 Communication Center (Women's Foreign 信息采集部(记者部)副主任 Language Publications of China) LI WENJIE 李文杰 Legal Adviser 法律顾问 全国妇联网络信息传播中心 Reporters 记者 HUANG XIANYONG 黄显勇 (中 国 妇 女 外 文 期 刊 社)出 版 ZHANG JIAMIN 张佳敏 YE SHAN 叶珊 Publishing Date: July 15, 2020 International Distribution 国外发行 FAN WENJUN 樊文军 本期出版时间:2020年7月15日 China International Book Trading Corporation
    [Show full text]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [Show full text]
  • A World Without Thieves: Film Magic and Utopian Fantasies
    A World without Thieves: Film Magic and Utopian Fantasies Rujie Wang, College of Wooster Should we get serious about A World without Thieves (tian xia wu zei), with two highly skilled pickpockets, Wang Bo (played by Liu Dehua) and Wang Li (Liu Ruoying), risking their lives to protect both the innocence and the hard-earned money of an orphan and idiot who does not believe there are thieves in the world? The answer is yes, not because this film is a success in the popular entertainment industry but in spite of it. To Feng Xiaogang’s credit, the film allows the viewer to feel the pulse of contemporary Chinese cultural life and to express a deep anxiety about modernization. In other words, this production by Feng Xiaogang to ring in the year of the roster merits our critical attention because of its function as art to compensate for the harsh reality of a capitalist market economy driven by money, profit, greed, and individual entrepreneurial spirit, things of little value in the old ethical and religious traditions. The title is almost sinisterly ironic, considering the national problem of corruption and crime that often threatens to derail economic reform in China, although it may ring true for those optimists clinging tenaciously to the old moral ideals, from Confucians to communists, who have always cherished the utopia of a world without thieves. Even during the communist revolutions that redistributed wealth and property by violence and coercion, that utopian fantasy was never out of favor or discouraged; during the Cultural Revolution, people invented and bought whole-heartedly into the myth of Lei Feng (directed by Dong Yaoqi, 1963), a selfless PLA soldier and a paragon of socialist virtues, who wears socks with holes but manages to donate all his savings to the flood victims in a people’s commune.
    [Show full text]
  • Cambridge University Press 978-1-107-11853-9 — Disability in Contemporary China Sarah Dauncey Index More Information
    Cambridge University Press 978-1-107-11853-9 — Disability in Contemporary China Sarah Dauncey Index More Information Index 100 Reasons to Live (Huozhe de 100 ge liyou, possibility of, 3, 33 Qian Mindan), 172 provided through internal monologue, 93 risk and contradictory nature of, 94, 192 ‘A Corner in the Shade’ (Mei you taiyang de Ah Q, 116 jiaoluo, Shi Tiesheng), 112, 118–123 amputees, 17, 104, See also ‘The Amputee’; challenging discriminatory language, Wu Yunduo; Wu Zhizhong; Xu 119–120 Xuehui; Yin Shujun collective and individual anxiety, 119 An Angel with Broken Wings: In Conversation dehumanisation of disabled people, 119 with Life (Zhechi tianshi: yu shengming need for societal change, 133 duihua, Yin Shujun), 179 possibility of love, 121–123 animals, disabled people likened to, A Private Life (Siren shenghuo, Chen Ran), 99–100, 129 35 asexuality, 191 A Showdown with Death (Duijue sishen, Yin ‘At Middle Age’ (Ren dao zhongnian, Shen Shujun). See Yin Shujun Rong), 35 A Song of Triumph for Chairman Mao’s audience Proletarian Line on Public Health (Mao challenged to change attitudes and zhuxi wuchanjieji weisheng luxian de behaviours, 32, 112, 158 shengli kaige), 55–56, 91–92 disabled and non-disabled, 94, 191 A Tragic Life (Beiju shengya, BaiWei), 35 expectations and assumptions of, 109, A Treasury of Inspiration (Shouhuo gandong, 148 Wang Xinxian), 161 for revolutionary propaganda, 37–38, able-bodied gaze 45–46, 60 and the female body, 35, 130 for self-help guidance and expertise, othering of the disabled body, 100, 107, 167–171 129 for talent shows, 153–155 superiority and normalcy, 109, 192 for the ‘socialist spiritual civilisation’ ‘able-bodied people’ (jianquanren), 77, 144, campaign, 65, 68, 72–74 150, 162, See also ‘normal people’ invited to ‘stare’,71 ‘robust’ (jianquan) citizenry, 21 reassured of their superiority and able-bodiedness and able-mindedness, 17, ‘normalcy’, 94, 130, 132 19, 27, 94, 109 Auntie.
    [Show full text]
  • History of China: Table of Contents
    History of China: Table of Contents ● Historical Setting ● The Ancient Dynasties ❍ Dawn of History ❍ Zhou Period ❍ Hundred Schools of Thought ● The Imperial Era ❍ First Imperial Period ❍ Era of Disunity ❍ Restoration of Empire ❍ Mongolian Interlude ❍ Chinese Regain Power ❍ Rise of the Manchus ● Emergence Of Modern China ❍ Western Powers Arrive First Modern Period ❍ Opium War, 1839-42 Era of Disunity ❍ Taiping Rebellion, 1851-64 ❍ Self-Strengthening Movement ❍ Hundred Days' Reform and Aftermath ❍ Republican Revolution of 1911 ● Republican China ❍ Nationalism and Communism ■ Opposing the Warlords ■ Consolidation under the Guomindang ■ Rise of the Communists ❍ Anti-Japanese War ❍ Return to Civil War ● People's Republic Of China ❍ Transition to Socialism, 1953-57 ❍ Great Leap Forward, 1958-60 ❍ Readjustment and Recovery, 1961-65 ❍ Cultural Revolution Decade, 1966-76 ■ Militant Phase, 1966-68 ■ Ninth National Party Congress to the Demise of Lin Biao, 1969-71 ■ End of the Era of Mao Zedong, 1972-76 ❍ Post-Mao Period, 1976-78 ❍ China and the Four Modernizations, 1979-82 ❍ Reforms, 1980-88 ● References for History of China [ History of China ] [ Timeline ] Historical Setting The History Of China, as documented in ancient writings, dates back some 3,300 years. Modern archaeological studies provide evidence of still more ancient origins in a culture that flourished between 2500 and 2000 B.C. in what is now central China and the lower Huang He ( orYellow River) Valley of north China. Centuries of migration, amalgamation, and development brought about a distinctive system of writing, philosophy, art, and political organization that came to be recognizable as Chinese civilization. What makes the civilization unique in world history is its continuity through over 4,000 years to the present century.
    [Show full text]