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Chinese Memories is a collection of poems by Poet Laureate, Jean Elizabeth Ward. In alphabetical order for an easy read. Each and every poem is either an homage to or one inspired by reading a poem by a Chinese Poet from the High Tang Dynasty. She says, the difference is "My poems are not written in stone, they can be changed as time passes along."
Born in 1941, Tubten Khétsun is a nephew of the Gyatso Tashi Khendrung, one of the senior government officials taken prisoner after the Tibetan peoples' uprising of March 10, 1959. Khétsun himself was arrested while defending the Dalai Lama's summer palace, and after four years in prisons and labor camps, he spent close to two decades in Lhasa as a requisitioned laborer and "class enemy." In this eloquent autobiography, Khétsun describes what life was like during those troubled years. His account is one of the most dispassionate, detailed, and readable firsthand descriptions yet published of Tibet under the Communist occupation. Khétsun talks of his prison experiences as well as the state of civil society following his release, and he offers keenly observed accounts of well-known events, such as the launch of the Cultural Revolution, as well as lesser-known aspects of everyday life in occupied Lhasa. Since Communist China continues to occupy Tibet, the facts of this era remain obscure, and few of those who lived through it have recorded their experiences at length. Khétsun's story will captivate any reader seeking a refreshingly human account of what occurred during the Maoists' shockingly brutal regime.
Through an interdisciplinary conversation with contributors from social anthropology, religious studies, film studies, literary studies, cultural studies, and history, Crafting Chinese Memories is a novel book which addresses how works of art shape memories, and offers new ways of conceptualising storytelling, memory-making, art, and materiality. It explores the memories of artists, filmmakers, novelists, storytellers, and persons who come to terms with their own histories even as they reveal the social memories of watershed events in modern China.
A comprehensive study of contemporary memories of China's revolutionary epoch, from the time of Japanese imperialism through the Cultural Revolution. This volume examines the memories of a range of social groups, including disenfranchised workers and rural women, who have often been neglected in scholarship.
The Chinese Cultural Revolution began in 1966 and led to a ten-year-long reign of Maoist terror throughout China, in which millions died or were sent to labor camps in the country or subjected to other forms of extreme discipline and humiliation. Ji Xianlin was one of them. The Cowshed is Ji’s harrowing account of his imprisonment in 1968 on the campus of Peking University and his subsequent disillusionment with the cult of Mao. As the campus spirals into a political frenzy, Ji, a professor of Eastern languages, is persecuted by lecturers and students from his own department. His home is raided, his most treasured possessions are destroyed, and Ji himself must endure hours of humiliation at brutal “struggle sessions.” He is forced to construct a cowshed (a makeshift prison for intellectuals who were labeled class enemies) in which he is then housed with other former colleagues. His eyewitness account of this excruciating experience is full of sharp irony, empathy, and remarkable insights into a central event in Chinese history. In contemporary China, the Cultural Revolution remains a delicate topic, little discussed, but if a Chinese citizen has read one book on the subject, it is likely to be Ji’s memoir. When The Cowshed was published in China in 1998, it quickly became a bestseller. The Cultural Revolution had nearly disappeared from the collective memory. Prominent intellectuals rarely spoke openly about the revolution, and books on the subject were almost nonexistent. By the time of Ji’s death in 2009, little had changed, and despite its popularity, The Cowshed remains one of the only testimonies of its kind. As Zha Jianying writes in the introduction, “The book has sold well and stayed in print. But authorities also quietly took steps to restrict public discussion of the memoir, as its subject continues to be treated as sensitive. The present English edition, skillfully translated by Chenxin Jiang, is hence a welcome, valuable addition to the small body of work in this genre. It makes an important contribution to our understanding of that period.”
During the Mao era, China’s museums served an explicit and uniform propaganda function, underlining official Party history, eulogizing revolutionary heroes, and contributing to nation building and socialist construction. With the implementation of the post-Mao modernization program in the late 1970s and 1980s and the advent of globalization and market reforms in the 1990s, China underwent a radical social and economic transformation that has led to a vastly more heterogeneous culture and polity. Yet China is dominated by a single Leninist party that continues to rely heavily on its revolutionary heritage to generate political legitimacy. With its messages of collectivism, self-sacrifice, and class struggle, that heritage is increasingly at odds with Chinese society and with the state’s own neoliberal ideology of rapid-paced development, glorification of the market, and entrepreneurship. In this ambiguous political environment, museums and their curators must negotiate between revolutionary ideology and new kinds of historical narratives that reflect and highlight a neoliberal present. In Exhibiting the Past, Kirk Denton analyzes types of museums and exhibitionary spaces, from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories. Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.
While the history of Asian migration to Latin America is well documented, we know little about the contemporary experience of diasporic Asians in this part of the world. Memories of a Future Home offers an intimate look at how diasporic Chinese in Panama construct a home and create a sense of belonging as they inhabit the interstices of several cultural-national formations—Panama, their nation of residence; China/Taiwan, their ethnic homeland; and the United States, the colonial force. Juxtaposing the concepts of diaspora and citizenship, this book offers an innovative framework to help us understand how diasporic subjects engage the politics of cultural and political belonging in a transnational context. It does so by examining the interaction between continually shifting geopolitical dynamics, as well as the maneuvers undertaken by diasporic people to negotiate and transform those conditions. In essence, this book explores the contingent citizenship experienced by diasporic Chinese and their efforts to imagine and construct "home" in diaspora.
This study focuses on the politics of memory in the village of Dachuan in northwest China, in which 85 percent of the villagers are surnamed Kong and believe themselves to be descendants of Confucius. It recounts both how this proud community was subjected to intense suffering during the Maoist era, culminating in its forcible resettlement in December 1960 to make way for the construction of a major hydroelectric dam, and how the village eventually sought recovery through the commemoration of that suffering and the revival of a redefined religion. Before 1949, the Kongs had dominated their area because of their political influence, wealth, and, above all, their identification with Confucius, whose precepts underlay so much of the Chinese ethical and political tradition. After the Communists came to power in 1949, these people, as a literal embodiment of the Confucian heritage, became prime targets for Maoist political campaigns attacking the traditional order, from land reform to the “Criticize Confucius” movement. Many villagers were arrested, three were beheaded, and others died in labor camps. When the villagers were forced to hastily abandon their homes and the village temple, they had time to disinter only the bones of their closest family members; the tombs of earlier generations were destroyed by construction workers for the dam.
In Night Bus, a young woman wearing round glasses finds herself on an adventurous late night bus ride that constantly makes detours through increasingly fantastical landscapes. Meanwhile a young cartoonist returns home after art school and tries his hand at becoming a working artist while watching over his aging grandmother whose memory is deteriorating. Nostalgic leaps take us to an elementary school gymnasium that slowly morphs into a swamp and is raided by a giant catfish. Beetles, salamanders, and bug-eyed fish intrude upon the bus ride of the round-glasses woman as the night stretches on. Night Bus blends autobiography, horror, and fantasy into a vibrantly detailed surreal world that shows a distinct talent surveying his past. Nature infringes upon the man-made world via gigantism and explosive abundance–the images in Night Bus are often unsettling, not aimed to horrify, but to upset the balance of modern life. Zuo Ma is part of a burgeoning Chinese art comics scene that pushes emotion to the forefront of the story while playing with action and dreams. Translated by Orion Martin.
Contested Memories in Chinese and Japanese Foreign Policy explores the issue of memory and lack of reconciliation in East Asia. As main East Asian nations have never achieved a common memory of their pasts, in particular, the events of the Second World War and Sino-Japanese War, this book locates the issue of memory within International Relations theory, exploring the theoretical and practical link between the construction of a country’s identity and the formation and contestation of its historical memory and foreign policy. Provides an innovative theoretical framework Draws connections between the role of memory and foreign policy Uses the interpretative theory of international relations Gives comparative perspective using the cases of China and Japan Presents in-depth analysis of the construction and contestation of national memory in China and Japan