Vlaarfu NG 10 March 9, 1979 BEIJI
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Do Away with the Ideology of Bourgeois Right
Do Away with the Ideology of Bourgeois Right By Zhang Chunqiao, People’s Daily, October 13, 1958 Translator’s Note: At the time he wrote this, Zhang Chunqiao had been a member of the city commit- tee of the Communist Party of China (CPC) in Shanghai, publisher of the Shanghai newspaper Lib- eration, and a leader in attacking Rightist cultural figures in Shanghai. The article reflects the enthu- siasm for a rapid transition to communism that came out of the People’s Commune movement in 1958. Although the egalitarian “supply system” had been officially abolished in 1955, Zhang argues that it should be brought back and extended to the whole society. Mao considered this idea in 1958, and this article was only reprinted in Beijing’s People’s Daily at Mao’s insistence and with an (un- signed) introductory note that Mao wrote. Zhang later played a significant role in the Cultural Revolu- tion, and was prosecuted by the CPC’s victors as a member of the “Gang of Four.” Condemned to death, his sentence was later commuted to life in prison. He was released for medical reasons in 1998, and died in 2005. Editor's note: This essay of Comrade Zhang Chunqiao appeared in the Shanghai "Liberation" semi- monthly, number six, [1958], and is now reprinted here for discussion by comrades. This question needs discussion, because of the important issues now facing us. We think that Zhang's essay is ba- sically correct, but somewhat one-sided, precisely because what is said about the historical process may not be the complete explanation. -
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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. -
Asia Pacific Visual Cultures
Massachusetts College of Art and Design 2021 Student Research Symposium on ASIA PACIFIC VISUAL CULTURES Monday, April 26, 2021, 5:00 to 6:15 PM Virtual Event via Zoom https://massart.zoom.us/j/87217651809 Welcome! The Team: Organizers: Shouchih Isaac Yen, PhD [email protected] Duncan Givans, PhD [email protected] Timothy Correll, PhD [email protected] Event Manager: Candis Hilton [email protected] Technology Adviser: Antony Flackett [email protected] Poster and Program Designer: Amenda Wong [email protected] Program Printing Advisers: Clint Baclawski and Jamison Wright Venue and Schedule Adviser: Kyle Brock Media Adviser: Nicky Enriquez Student Managers: Alexandru Zaharia, Tatyana Andreeva, and Zhiyao Zhang Poster and Program Designer: Amenda Wong [email protected] Olivia Fair Dante Canario The Animated Nezha and the From Olympic Harmony Héxié to Confucian Doctrine of Filial Piety River Crabs Héxiè Olivia Fair The Animated Nezha 哪吒 and the Confucian Doctrine of Filial Piety Nǎzhā 哪吒 Nezha fights the dragons, Baoguang Wang, Smash the Gang of Four. 1978. Nezha Conquers the Dragon King (1979). Poster, 53 x 77 cm. The Gang of Four Consisted of Jiang Qing (wife of Mao Zedong), Wang Hongwen, Zhang Chunqiao, and Yao Wenyuan They were charged with treason. Poster for Nezha/Nezha: Birth of the Demon Child. Directed by Yu Yang, Beijing Enlight Pictures, 2019. 110 minutes. Dante Canario From Olympic Harmony Héxié 和諧 to River Crabs Héxiè 河蟹 Memorial to the Murdered Jews of Europe Peter Eisenman 2005, Berlin Germany Grey Boxes Representing Printing Blocks 2008 Bird's Nest Stadium, Beijing China Ai Weiwei River Crab Feast 2010, Shanghai China Héxié 和諧 Héxiè 河蟹 Harmony River Crabs Panel Discussion: Questions and Answers Olivia Fair Dante Canario Panel Discussion: Questions and Answers THANK YOU SO MUCH!. -
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ISABEL SUN CHAO AND CLAIRE CHAO REMEMBERING SHANGHAI A Memoir of Socialites, Scholars and Scoundrels PRAISE FOR REMEMBERING SHANGHAI “Highly enjoyable . an engaging and entertaining saga.” —Fionnuala McHugh, writer, South China Morning Post “Absolutely gorgeous—so beautifully done.” —Martin Alexander, editor in chief, the Asia Literary Review “Mesmerizing stories . magnificent language.” —Betty Peh-T’i Wei, PhD, author, Old Shanghai “The authors’ writing is masterful.” —Nicholas von Sternberg, cinematographer “Unforgettable . a unique point of view.” —Hugues Martin, writer, shanghailander.net “Absorbing—an amazing family history.” —Nelly Fung, author, Beneath the Banyan Tree “Engaging characters, richly detailed descriptions and exquisite illustrations.” —Debra Lee Baldwin, photojournalist and author “The facts are so dramatic they read like fiction.” —Heather Diamond, author, American Aloha 1968 2016 Isabel Sun Chao and Claire Chao, Hong Kong To those who preceded us . and those who will follow — Claire Chao (daughter) — Isabel Sun Chao (mother) ISABEL SUN CHAO AND CLAIRE CHAO REMEMBERING SHANGHAI A Memoir of Socialites, Scholars and Scoundrels A magnificent illustration of Nanjing Road in the 1930s, with Wing On and Sincere department stores at the left and the right of the street. Road Road ld ld SU SU d fie fie d ZH ZH a a O O ss ss U U o 1 Je Je o C C R 2 R R R r Je Je r E E u s s u E E o s s ISABEL’SISABEL’S o fie fie K K d d d d m JESSFIELD JESSFIELDPARK PARK m a a l l a a y d d y o o o o d d e R R e R R R R a a S S d d SHANGHAISHANGHAI -
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No.1 October 2019 EDITORS-IN-CHIEF Tobias BIANCONE, GONG Baorong EDITORIAL BOARD MEMBERS (in alphabetical order by Pinyin of last name) Tobias BIANCONE, Georges BANU, Christian BIET, Marvin CARLSON, CHEN Jun, CHEN Shixiong, DING Luonan, Erika FISCHER-LICHTE, FU Qiumin, GONG Baorong, HE Chengzhou, HUANG Changyong, Hans-Georg KNOPP, HU Zhiyi, LI Ruru, LI Wei, LIU Qing, LIU Siyuan, Patrice PAVIS, Richard SCHECHNER, SHEN Lin, Kalina STEFANOVA, SUN Huizhu, WANG Yun, XIE Wei, YANG Yang, YE Changhai, YU Jianchun. EDITORS WU Aili, CHEN Zhongwen, CHEN Ying, CAI Yan CHINESE TO ENGLISH TRANSLATORS HE Xuehan, LAN Xiaolan, TANG Jia, TANG Yuanmei, YAN Puxi ENGLISH CORRECTORS LIANG Chaoqun, HUANG Guoqi, TONG Rongtian, XIONG Lingling,LIAN Youping PROOFREADERS ZHANG Qing, GUI Han DESIGNER SHAO Min CONTACT TA The Center Of International Theater Studies-S CAI Yan: [email protected] CHEN Ying: [email protected] CONTENTS I 1 No.1 CONTENTS October 2019 PREFACE 2 Empowering and Promoting Chinese Performing Arts Culture / TOBIAS BIANCONE 4 Let’s Bridge the Culture Divide with Theatre / GONG BAORONG STUDIES ON MEI LANFANG 8 On the Subjectivity of Theoretical Construction of Xiqu— Starting from Doubt on “Mei Lanfang’s Performing System” / CHEN SHIXIONG 18 The Worldwide Significance of Mei Lanfang’s Performing Art / ZOU YUANJIANG 31 Mei Lanfang, Cheng Yanqiu, Qi Rushan and Early Xiqu Directors / FU QIUMIN 46 Return to Silence at the Golden Age—Discussion on the Gains and Losses of Mei Lanfang’s Red Chamber / WANG YONGEN HISTORY AND ARTISTS OF XIQU 61 The Formation -
Chinese Cultural Revolution
Chinese Cultural Revolution Background Guide Written by: Sruthi Venkatachalam and Patrick Lee, Case Western Reserve University The Rise of Modern China The reign of the Chinese dynasties ended in 1911 leading to China’s emergence into the modern world. China’s weakness in the 20th century, as seen in the devastating loss in the Sino-Japanese War of 1894-95, stirred unrest and murmurs of uprising among the population. In 1911, armed rebellions broke out in response to the nationalization of railways in the Sichuan province, word of which spread across China. This snowballed and lead warlords to rebel against the weak imperial regime. Such rebellion in Wuchuan led to the overthrow of the provincial government and revolutionary leader Sun Yixian took advantage of the regime’s weakness. He later returned from exile, elected provisional president He saw that the emperor be abdicated, and resign power allowing Yuan Shikai, imperial minster entrusted with full power via the courts, to become the nation’s first president.1 In early 1912, the reign of Imperial China, Yuan Shikai’s attempt to become military dictator was thwarted and the Nationalist party, the Guomindang, also known as the Kuomintang (GMD) took control of the country in 1923. Sun Yixian, now president, reorganized the party that made it a centralized, democratic party. The GMD worked with the nearly formed Chinese Communist Party, with Soviet assistance, to reunite China and end the control of warlords running rampant in the 1 Wang, Yi Chu. “Sun Yat-sen : Chinese Leader.” n.d. Britannica. Accessed November 9. 2018. https://www.britannica.com/biography/Sun-Yat-sen country. -
Political Literature and Public Policy in Post-Mao China
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1989 Political literature and public policy in post-Mao China Steve Gideon The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Gideon, Steve, "Political literature and public policy in post-Mao China" (1989). Graduate Student Theses, Dissertations, & Professional Papers. 3248. https://scholarworks.umt.edu/etd/3248 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUBSISTS, ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR. MANSFIELD LIBRARY UNIVERSITY OF_ MONTANAA DATE : rm POLITICAL LITERATURE AND PUBLIC POLICY IN POST-MAO CHINA By Steve Gideon B.A., University of Montana, 1986 Presented in partial fulfillment of the requirements for the degree of Master of Arts University of Montana 1989 Approved by Chairman, Board of Examiners Jean, Graduate School AJ !5') I j E f Date UMI Number: EP34343 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
The University of Chicago Sound Images, Acoustic
THE UNIVERSITY OF CHICAGO SOUND IMAGES, ACOUSTIC CULTURE, AND TRANSMEDIALITY IN 1920S-1940S CHINESE CINEMA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DEVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY LING ZHANG CHICAGO, ILLINOIS JUNE 2017 Table of Contents Acknowledgements………………………………………………………………………………………iii Abstract…………………………………………………………………………………………………. x Introduction……………………………………………………………………………………………… 1 Chapter One Sound in Transition and Transmission: The Evocation and Mediation of Acoustic Experience in Two Stars in the Milky Way (1931) ...................................................................................................................................................... 20 Chapter Two Metaphoric Sound, Rhythmic Movement, and Transcultural Transmediality: Liu Na’ou and The Man Who Has a Camera (1933) …………………………………………………. 66 Chapter Three When the Left Eye Meets the Right Ear: Cinematic Fantasia and Comic Soundscape in City Scenes (1935) and 1930s Chinese Film Sound… 114 Chapter Four An Operatic and Poetic Atmosphere (kongqi): Sound Aesthetic and Transmediality in Fei Mu’s Xiqu Films and Spring in a Small Town (1948) … 148 Filmography…………………………………………………………………………………………… 217 Bibliography………………………………………………………………………………………… 223 ii ACKNOWLEDGEMENTS Over the long process of bringing my dissertation project to fruition, I have accumulated a debt of gratitude to many gracious people who have made that journey enjoyable and inspiring through the contribution of their own intellectual vitality. First and foremost, I want to thank my dissertation committee for its unfailing support and encouragement at each stage of my project. Each member of this small group of accomplished scholars and generous mentors—with diverse personalities, academic backgrounds and critical perspectives—has nurtured me with great patience and expertise in her or his own way. I am very fortunate to have James Lastra as my dissertation co-chair. -
Local Politics in the Chinese Cultural Revolution: Nanjing Under Military Control
The Journal of Asian Studies Vol. 70, No. 2 (May) 2011: 425–447. © The Association for Asian Studies, Inc., 2011 doi:10.1017/S0021911811000039 Local Politics in the Chinese Cultural Revolution: Nanjing Under Military Control DONG GUOQIANG AND ANDREW G. WALDER China’s protracted regional conflicts of 1967 and 1968 have long been under- stood as struggles between conservative and radical forces whose opposed inter- ests were so deeply rooted in existing patterns of power and privilege that they defied the imposition of military control. This study of Nanjing, a key provincial capital that experienced prolonged factional conflict, yields a new explanation: the conflicts were prolonged precisely because they could not be characterized as pitting “conservatives” against “radicals”, making it difficult for central offi- cials, local military forces, or Mao Zedong to decide how to resolve them. Fur- thermore, Beijing officials, regional military forces, and local civilian cadres were themselves divided against one another, exacerbating and prolonging local conflicts. In competing for approval from central authorities, local factions adopted opportunistic and rapidly shifting political stances designed to portray their opponents as reactionary conservatives—charges that had no basis in fact. HE CHINESE CULTURAL REVOLUTION —in particular the initial two years of Tmass political conflict that devastated China’s civilian government—was a traumatic and pivotal event in modern Chinese history. It was intensively chronicled and analyzed outside China in its immediate aftermath, and for much of the subsequent decade by social scientists eager to conceptualize and interpret the conflict in structural terms. Academic interest in these events quickly waned outside China in the post-Mao era, almost forgotten, as the coun- try’s remarkable change of course attracted the bulk of scholarly attention. -
Ohiou1343397183.Pdf (1.22
The Photographically-mediated Identity: Jiang Qing (1914—1991) A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Yi Liu August 2012 © 2012 Yi Liu. All Rights Reserved. 2 This thesis titled The Photographically Mediated Identity: Jiang Qing (1914—1991) by YI LIU has been approved for the School of Art and the College of Fine Arts by Marion Lee Associate Professor of Art History Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT LIU,YI, M.A., August 2012, Art History The Photographically-mediated Identity: Jiang Qing (1914—1991) (91.pp) Director of Thesis: Marion Lee This thesis is a study of Jiang Qing’s 江青 (1914-1991) published photographic works in Chinese national magazines from early 1950s to 1976. Dividing her works into three categories in chronological order, I will investigate how she continuously fashioned her own identity through the manipulation of photography in her pursuit of recognition, fame, and power before and during the Cultural Revolution, a socio-political campaign launched by her husband Mao Zedong 毛泽东 (1893—1976) to regain power and consolidate authority through the revolutionary campaign in ideological spheres, such as class struggle and eradication of old culture and custom. By regarding her works and her association with photography as text, based on which the historical context can be reconstructed, I purport to examine her role in the Cultural Revolution, concluding that her primary perceived identity as Mao’s wife facilitated her rapid rise to power but also curbed her self-fulfillment and resulted in her final downfall soon after Mao died. -
Afterlives of Chinese Communism: Political Concepts from Mao to Xi
AFTERLIVES OF CHINESE COMMUNISM AFTERLIVES OF CHINESE COMMUNISM POLITICAL CONCEPTS FROM MAO TO XI Edited by Christian Sorace, Ivan Franceschini, and Nicholas Loubere First published 2019 by ANU Press and Verso Books The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (hardback): 9781788734790 ISBN (paperback): 9781788734769 ISBN (online): 9781760462499 WorldCat (print): 1085370489 WorldCat (online): 1085370850 DOI: 10.22459/ACC.2019 This title is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Note on Visual Material All images in this publication have been fully accredited. As this is a non-commercial publication, certain images have been used under a Creative Commons licence. These images have been sourced from Flickr, Wikipedia Commons and the copyright owner of each original picture is acknowledged and indicated in the source information. Design concept and typesetting by Tommaso Facchin; Illustrations by Marc Verdugo Lopez. Cover design by No Ideas. Cover artwork by Marc Verdugo Lopez. Proofreading by Sharon Strange and Evyn Chesneau Papworth. This edition © 2019 ANU Press and Verso Books Table of Contents Introduction - Christian SORACE, Ivan FRANCESCHINI, and Nicholas LOUBERE 1 1. Aesthetics - Christian SORACE 11 2. Blood Lineage - YI Xiaocuo 17 3. Class Feeling - Haiyan LEE 23 4. Class Struggle - Alessandro RUSSO 29 5. Collectivism - GAO Mobo 37 6. Contradiction - Carlos ROJAS 43 7. Culture - DAI Jinhua 49 8. Cultural Revolution - Patricia M. -
The Market, Ideology, and Convention Jingju Performers’ Creativity in the 21St Century Li Ruru
The Market, Ideology, and Convention Jingju Performers’ Creativity in the 21st Century Li Ruru Driven by the imperatives of a changing society and the pressures of new technology, China’s theatre is undergoing continual transformation, both in its performance and understanding by practitioners and in its reception by audiences. Jingju (known in the West as Beijing Opera) — a highly stylized theatrical genre founded on specific role types and spectacular stage conven- tions — is no exception to this process. As new media devices and possibilities appear at an unprecedented pace, these developments afford artists tremendous choices and fundamentally alter not only what constitutes theatre but also the mentality of practitioners and spectators. Since the nadir of the Cultural Revolution, a more than tenfold increase in gross domestic product has made China a powerful voice in the global capitalist community and a generous benefactor of its theatre. The budget for starting a stage show can now easily reach around five million RMB (about US$800,000). “Forging exquisite productions” (dazao jingpin) to obtain Figure 1. Ailiya (Shi Yihong) dances for her beggar friends. Shanghai, 2008. (Courtesy of the Shanghai Jingju Theatre) TDR: The Drama Review 56:2 (T214) Summer 2012. ©2012 New York University and the Massachusetts Institute of Technology 131 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 national prizes seems to be the ultimate objective of all theatre companies and local authorities, so the funding enables theatre, including jingju, to do things that it could not have dreamed of 30 years ago.