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In this book, Ruth Y. Y. Hung provides a study of Hu Feng (1902–1985) as a critic, writer, and editor within the context of the People's Republic of China's political ascendancy. A member of the Japanese Communist Party and the Chinese Communist Party, Hu rose to fame in the 1940s and became a representative persecuted intellectual soon after 1949. "The Hu Feng Case" of 1955—more than a decade before the Cultural Revolution—was a significant, large-scale campaign of intellectual persecution. Hung examines Hu's work as a literary critic in this context, and examines the intricate historical and sociopolitical forces against which intellectuals in his milieu in twentieth-century China adopted Marxism as a measure of their critical position. She demonstrates how this first generation of modern Chinese literary critics practiced criticism, examining the skills and arguments they used to negotiate their institutional and ideological relations with state-party power. This exceptional case of intellectual engagement offers broader insight on critical literature's humanistic aims and methods in the context of intellectual globalization and changing political climates.
As one of the few foundational texts to provide a critical overview of the aesthetics and politics of the leftist literary movement in China, The Gate of Darkness was previously published by the University of Washington Press in 1968 to great critical acclaim. Posthumously edited by the author's brother Professor C. T. Hsia, this book critiques the works of leftist Chinese writers including Lu Hs?n, Chiang Kuangtz'u, and the "Five Martyrs." As one of the few foundational texts to provide a critical overview of the aesthetics and politics of China's leftist literary movement, The Gate of Darkness examines the conflicting dilemmas between leftist authors' own ideals and the strict ideological frameworks imposed by the propaganda policies of the Chinese Communist Party in the early twentieth century. Numerous reviews appearing in the leading East Asian studies journals have acknowledged the historical importance of the book which has few comparisons. The cultural critic Leo Oufan Lee believes that this book gives one of the most significant scholarly analyses of Lu Xun's work towards the end of his life, revealing the "darkness" that pervaded his later works such as "Wild Grass." He calls Tsian Hsia "a creative and compassionate scholar" who has opened Lu Hs?n's inner "gate of darkness" to unveil "a fascinating world of demons and ghosts as dramatized in village operas and popular superstitions."
With an introduction by Gregor Benton. The Longest Night tells the story of Chinese Trotskyism in its later years, including after Mao Zedong's capture of Beijing in 1949. It treats the three ages of Chinese Trotskyism: the founding generation around Chen Duxiu, Zheng Chaolin, Wang Fanxi, and Peng Shuzhi, who joined the Opposition after their expulsion from the Chinese Communist Party (CCP); the first generation of those who (after 1931) did not first pass through the ranks of the CCP before becoming Trotskyists; and those who became Trotskyists after 1949, mainly in Hong Kong and the diaspora.
Literary Societies of Republican China provides a new and comprehensive perspective on the fascinating literary world of the most turbulent period in recent Chinese history: the Republican era of 1911-1949. Wedged between the fall of the Empire and the founding of the Communist state, the Republican period witnessed enormous social, political, and cultural changes. Kirk A. Denton and Michel Hockx have collected thirteen essays by eleven scholars from North America, Europe, and Asia that present detailed discussions of particular literary groups active in the Republican-era literary scene. Some of these groups are familiar representatives of what used to be considered the "mainstream," while others represent literary styles that have hitherto been considered "marginal" or that have been ignored altogether. Each of the essays in this volume looks in detail at literary societies both as producers of literary views and texts and as organizations with sometimes very complex social structures. The result is a unique blend of literary, cultural, and social history, unrivalled in any English-language scholarship on China to date. Book jacket.
This volume is the first serious attempt to reconstruct Ding Ling's biography during the last few decades of her life. Most Westerners know her as a progressive woman writer who became famous during the May 4 Movement, championed its values in Yan'an and was criticized in the rectification campaigns that followed. Few know about her life afterward and the arduous process of rehabilitation. Here for the first time readers will learn about her life in the Great Northern Wasteland, solitary confinement in Qincheng prison, her visit to the United States, participation in the spiritual pollution campaign, and finally, the attempt to launch the journal China. All of this puts a new perspective on the life of one of China's most preeminent woman writers. Alber includes considerable new information about the rectification campaigns of the late fifties, supplemented by a series of interviews with the author and her contemporaries in the years 1980 and 1981, the very point when she began to turn left and to compromise her progressive beliefs. Ding Ling is generally acknowledged as a major figure of the May 4 Movement and an ardent admirer of Lu Xun. As such, the study sheds light on the legacy of China's greatest writer and the influence of Western ideals on contemporary Chinese literature. The primary audience is the educated reader who has an interest in contemporary Chinese literature and politics. It should be especially interesting to women, but the coverage is broad enough to include anyone interested in the intellectual history of China.
This wide-ranging Companion provides a vital overview of modern Chinese literature in different geopolitical areas, from the 1840s to now. It reviews major accomplishments of Chinese literary scholarship published in Chinese and English and brings attention to previously neglected, important areas. Offers the most thorough and concise coverage of modern Chinese literature to date, drawing attention to previously neglected areas such as late Qing, Sinophone, and ethnic minority literature Several chapters explore literature in relation to Sinophone geopolitics, regional culture, urban culture, visual culture, print media, and new media The introduction and two chapters furnish overviews of the institutional development of modern Chinese literature in Chinese and English scholarship since the mid-twentieth century Contributions from leading literary scholars in mainland China and Hong Kong add their voices to international scholarship
The harshness of the modern Communist regime has far exceeded that of all past despots, as the PRC’s founder Mao Zedong openly acknowledged: “What was Emperor Qin Shi Huang? He only buried 460 scholars, but we buried 46,000. During the suppression of counter-revolutionaries, didn’t we kill some counterrevolutionary intellectuals? I’ve discussed this with pro-democracy advocates: ‘You call us Qin Shi Huang as an insult, but we’ve surpassed Qin Shi Huang a hundred-fold.’ Some people curse us as dictators like Qin Shi Huang. We must categorically accept this as factually accurate. Unfortunately, you haven’t said enough and leave it to us to say the rest”. In fact, the number of writers killed under CPC rule far exceeds 46,000, and the number imprisoned is incalculable. This volume collects 64 cases occurring from 1947 to 2010, with one emblematic case for each year, but these represent just the tip of the iceberg. The CPC has officially acknowledged that 550,000 people were labeled “Rightists” from 1957 to 1959, mostly through various types of literary inquisition, making the 130-plus cases of the Qianlong period pale in comparison. This volume describes the cases of 12 “Rightist” victims – Sun Mingxun, Feng Xuefeng, Lin Xiling, Ding Ling, Ai Qing, Lin Zhao, Wang Ruowang, Wang Zaoshi, Chen Fengxiao, Yuan Changying, Nie Gannu and Liu Binyan, obviously only a minute proportion. In the single case of the “anti-Party” novel Liu Zhidan, more than 10,000 people were persecuted, the most wide-ranging literary inquisition in Chinese history. In the case of Wang Shenyou’s love letter, Wang ripped up the letter before sending it, but he was forced to rewrite it and was then executed for his “unspoken criticism”. A multitude of such cases demonstrates that literary inquisition has reached its fullest flowering under CPC rule.
Provides a framework for the many voices calling for the reaffirmation of democratic values, citizenship, and service in the public interest. This edition includes a chapter that addresses the practical issues of applying these ideals in actual, real-life situations.
In this sweeping portrait of the political culture of the early People's Republic of China (PRC), Chang-tai Hung mines newly available sources to vividly reconstruct how the Chinese Communist Party (CCP) tightened its rule after taking power in 1949. With political-cultural projects such as reconstructing Tiananmen Square to celebrate the Communist Revolution; staging national parades; rewriting official histories; mounting a visual propaganda campaign, including oil paintings, cartoons, and New Year prints; and establishing a national cemetery for heroes of the Revolution, the CCP built up nationalistic fervor in the people and affirmed its legitimacy. These projects came under strong Soviet influence, but the nationalistic Chinese Communists sought an independent road of nation building; for example, they decided that the reconstructed Tiananmen Square should surpass Red Square in size and significance, against the advice of Soviet experts sent from Moscow. Combining historical, cultural, and anthropological inquiries, Mao's New World examines how Mao Zedong and senior Party leaders transformed the PRC into a propaganda state in the first decade of their rule (1949–1959). Using archival sources only recently made available, previously untapped government documents, visual materials, memoirs, and interviews with surviving participants in the Party's plans, Hung argues that the exploitation of new cultural forms for political ends was one of the most significant achievements of the Chinese Communist Revolution. The book features sixty-six images of architecture, monuments, and artwork to document how the CCP invented the heroic tales of the Communist Revolution.