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This volume has brought together essays to explore, analyse and interpret the revolutionary tradition in modern Chinese literature over the past century from various angles. The authors examines the bodily or carnal dimension, especially the hidden implication of sexual passion, in revolutionary literature, formulate feminist critiques of the conception of women in literary expressions of revolution, explore the function of revolution as historical discourse and in historiographical representation, and discuss the reworking of “revolutionary classics” in recent literary and artistic endeavours. Here, revolution (in history and in literature) is conceptualized neither as an unquestionably progressive and creative force for a new world, nor an absolutely pejorative concept that necessarily leads to sociopolitical turmoil and tragedy. Insofar as “postrevolutionary writings” cannot but reappropriate the revolutionary spirit as their unavoidable and inseparable traumatic kernel, studies in revolutionary literature and culture, too, go through the zigzag experience of revolution in order to scrutinize its complex implications.
This book offers a case study of four of the most influential contemporary Chinese writers and 'cultural bastards' - Duoduo, an underground 'misty' poet; Wang Shuo, a 'hooligan' writer; Zhang Chengzhi, an old 'Red Guard' and new 'cultural heretic'; and Wang Xiaobo, a chronicler of Rabelaisian modern history.
In The Chinese Revolution on the Tibetan Frontier, Benno Weiner provides the first in-depth study of an ethnic minority region during the first decade of the People's Republic of China: the Amdo region in the Sino-Tibetan borderland. Employing previously inaccessible local archives as well as other rare primary sources, he demonstrates that the Communist Party's goal in 1950s Amdo was not just state-building but also nation-building. Such an objective required the construction of narratives and policies capable of convincing Tibetans of their membership in a wider political community. As Weiner shows, however, early efforts to gradually and organically transform a vast multiethnic empire into a singular nation-state lost out to a revolutionary impatience, demanding more immediate paths to national integration and socialist transformation. This led in 1958 to communization, then to large-scale rebellion and its brutal pacification. Rather than joining voluntarily, Amdo was integrated through the widespread, often indiscriminate use of violence, a violence that lingers in the living memory of Amdo Tibetans and others.
How poetry and revolution meshed in Red China The Chinese Revolution, which fought its way to power seventy years ago, was a complex and protracted event in which groups and individuals with different hopes and expectations for the Revolution competed, although in the end Mao came to rule over the others. Its veterans included many poets, four of whom feature in this anthology. All wrote in the classical style, but their poetry was no less diverse than their politics. Chen Duxiu, led China’s early cultural awakening before founding the Communist Party in 1921. Mao led the Party to power in 1949. Zheng Chaolin, Chen Duxiu’s disciple and, like him, a convert to Trotskyism, spent thirty-four years in jail, first under the Nationalists and then under their Maoist nemeses. The guerrilla leader Chen Yi wrote flamboyant and descriptive poems in mountain bivouacs or the heat of battle. Poetry has played a different role in China, and in Chinese Revolution, from in the West—it is collective and collaborative. But in life, the four poets in this collection were entangled in opposition and even bitter hostility towards one another. Together, the four poets illustrate the complicated relationship between Communist revolution and Chinese cultural tradition.
In the aftermath of the May Fourth movement, a growing expectation of revolution raised important intellectual issues about the position of the individual within a society in turmoil and the shifting boundaries of political and sexual identities. The theme of "revolution plus love," a literary response to the widespread insurrections and upheaval, was first popularized in the late 1920s. In her examination of this popular but understudied literary formula, Liu Jianmei argues that revolution and love are culturally variable entities, their interplay a complex and constantly changing literary practice that is socially and historically determined. Liu looks at the formulary writing of "revolution plus love" from the 1930s to the 1970s as a case study of literary politics. Favored by leftist writers during the early period of revolutionary literature, it continued to influence mainstream Chinese literature up to the 1970s. By drawing a historical picture of the articulation and rearticulation of this theme, Liu shows how changes in revolutionary discourse force unpredictable representations of gender rules and power relations, and how women's bodies reveal the complex interactions between political representation and gender roles. Revolution Plus Love is a nuanced and carefully considered work on gender and modernity in China, unmatched in its broad use of literary resources. It will be of considerable interest to scholars and students of modern Chinese literature, women’s studies, cultural studies, and comparative literature.
Based on a wide variety of unusual and only recently available sources, this book covers the entire Cultural Revolution decade (1966-76) and shows how the Cultural Revolution was experienced by ordinary Chinese at the base of urban and rural society. The contributors emphasize the complex interaction of state and society during this tumultuous period, exploring the way events originating at the center of political power changed people's lives and how, in turn, people's responses took the Cultural Revolution in unplanned and unanticipated directions. This approach offers a more fruitful way to understand the Cultural Revolution and its historical legacies. The book provides a new look at the student Red Guard movements, the effort to identify and cultivate potential "revolutionary" leaders in outlying provinces, stubborn resistance to campaigns to destroy the old culture, and the violence and mass killings in rural 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.
Published in China in 2010, Revolution and Its Narratives is a historical, literary, and critical account of the cultural production of the narratives of China's socialist revolution. Through theoretical, empirical, and textual analysis of major and minor novels, dramas, short stories, and cinema, Cai Xiang offers a complex study that exceeds the narrow confines of existing views of socialist aesthetics. By engaging with the relationship among culture, history, and politics in the context of the revolutionary transformation of Chinese society and arts, Cai illuminates the utopian promise as well as the ultimate impossibility of socialist cultural production. Translated, annotated, and edited by Rebecca E. Karl and Xueping Zhong, this translation presents Cai's influential work to English-language readers for the first time.
By exhaustively analyzing Lao She's literary writings, Vohra traces the development of his political consciousness and convictions. Besides being an introduction to the life and works of Lao She, this book contributes to a greater understanding of the nature of the social and political change in twentieth-century China.
"By exhaustively analyzing Lao She’s literary writings, Vohra traces the development of his political consciousness and convictions. Answers are sought for crucial questions: Why did Lao She drift to a leftist position? Why did he return voluntarily to China? Why did he become disenchanted with the authoritarian regime? And why did he commit suicide? Besides being an introduction to the life and works of Lao She, this book contributes to a greater understanding of the nature of the social and political change in twentieth-century China."