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This is the first comprehensive study of popular culture in twentieth-century China, and of its political impact during the Sino-Japanese War of 1937-1945 (known in China as "The War of Resistance against Japan"). Chang-tai Hung shows in compelling detail how Chinese resisters used a variety of popular cultural forms—especially dramas, cartoons, and newspapers—to reach out to the rural audience and galvanize support for the war cause. While the Nationalists used popular culture as a patriotic tool, the Communists refashioned it into a socialist propaganda instrument, creating lively symbols of peasant heroes and joyful images of village life under their rule. In the end, Hung argues, the Communists' use of popular culture contributed to their victory in revolution.
In The Cold War and the Origin of Diplomacy of People’s Republic of China, Niu Jun offers a new analytical framework for understanding the Cold War and PRC’s diplomacy from 1949 to 1955. He sees it as an interactive historical process between the Cold War, China’s domestic transition from revolution to nation-building, and the revolutionary ideology in the minds of Chinese leaders and Chinese people. Niu Jun’s analytical framework sheds fresh light on the widely studied events of PRC’s diplomacy such as China’s alliance with the Soviet Union and confrontation with the U.S., military actions on the Korean Peninsula and in Indochina, settlement of the first Taiwan Strait crisis, development of nuclear weapons, and so on.
Presents revised and edited papers from a October 2010 conference held in Taipei on the Chinese Air Force. The conference was jointly organized by Taiwan?s Council for Advanced Policy Studies, the Carnegie Endowment for International Peace, the U.S. National Defense University, and the RAND Corporation. This books offers a complete picture of where the Chinese air force is today, where it has come from, and most importantly, where it is headed.
This ambitious book looks into the reasons for the exceptional durability of the Chinese empire, which lasted for more than two millennia (221 B.C.E.-1911 C.E.). Yuri Pines identifies the roots of the empire's longevity in the activities of thinkers of the Warring States period (453-221 B.C.E.), who, in their search for solutions to an ongoing political crisis, developed ideals, values, and perceptions that would become essential for the future imperial polity. In marked distinction to similar empires worldwide, the Chinese empire was envisioned and to a certain extent "preplanned" long before it came into being. As a result, it was not only a military and administrative construct, but also an intellectual one. Pines makes the argument that it was precisely its ideological appeal that allowed the survival and regeneration of the empire after repeated periods of turmoil. Envisioning Eternal Empire presents a panoptic survey of philosophical and social conflicts in Warring States political culture. By examining the extant corpus of preimperial literature, including transmitted texts and manuscripts uncovered at archaeological sites, Pines locates the common ideas of competing thinkers that underlie their ideological controversies. This bold approach allows him to transcend the once fashionable perspective of competing "schools of thought" and show that beneath the immense pluralism of Warring States thought one may identify common ideological choices that eventually shaped traditional Chinese political culture
Serialized television drama (dianshiju), perhaps the most popular and influential cultural form in China over the past three decades, offers a wide and penetrating look at the tensions and contradictions of the post-revolutionary and pro-market period. Zhong Xueping’s timely new work draws attention to the multiple cultural and historical legacies that coexist and challenge each other within this dominant form of story telling. Although scholars tend to focus their attention on elite cultural trends and avant garde movements in literature and film, Zhong argues for recognizing the complexity of dianshiju’s melodramatic mode and its various subgenres, in effect "refocusing" mainstream Chinese culture. Mainstream Culture Refocused opens with an examination of television as a narrative motif in three contemporary Chinese art-house films. Zhong then turns her attention to dianshiju’s most important subgenres. "Emperor dramas" highlight the link between popular culture’s obsession with emperors and modern Chinese intellectuals’ preoccupation with issues of history and tradition and how they relate to modernity. In her exploration of the "anti-corruption" subgenre, Zhong considers three representative dramas, exploring their diverse plots and emphases. "Youth dramas’" rich array of representations reveal the numerous social, economic, cultural, and ideological issues surrounding the notion of youth and its changing meanings. The chapter on the "family-marriage" subgenre analyzes the ways in which women’s emotions are represented in relation to their desire for "happiness." Song lyrics from music composed for television dramas are considered as "popular poetics." Their sentiments range between nostalgia and uncertainty, mirroring the social contradictions of the reform era. The Epilogue returns to the relationship between intellectuals and the production of mainstream cultural meaning in the context of China’s post-revolutionary social, economic, and cultural transformation. Provocative and insightful, Mainstream Culture Refocused will appeal to scholars and students in studies of modern China generally and of contemporary Chinese media and popular culture specifically.
This book examines relations between China and the Soviet Union during the 1950s, and provides an insight into Chinese thinking about the Korean War. This volume is based on a translation of Shen Zihua’s best-selling Chinese-language book, which broke the mainland Chinese taboo on publishing non-heroic accounts of the Korean War.The author combined information detailed in Soviet-era diplomatic documents (released after the collapse of the Soviet Union) with Chinese memoirs, official document collections and scholarly monographs, in order to present a non-ideological, realpolitik account of the relations, motivations and actions among three Communist actors: Stalin, Mao Zedong and Kim Il-sung. This new translation represents a revisionist perspective on trilateral Communist alliance relations during the Korean War, shedding new light on the origins of the Sino-Soviet split and the rather distant relations between China and North Korea. It features a critical introduction to Shen's work and the text is based on original archival research not found in earlier books in English. This book will be of much interest to students of Communist China, Stalinist Russia, the Korean War, Cold War Studies and International History in general.
In Chinese Character Manipulation in Literature and Divination, Anne Schmiedl analyses the little-studied method of Chinese character manipulation as found in imperial sources. Focusing on one of the most famous and important works on this subject, the Zichu by Zhou Lianggong (1612–1672), Schmiedl traces and discusses the historical development and linguistic properties of this method. This book represents the first thorough study of the Zichu and the reader is invited to explore how, on the one hand, the educated elite leveraged character manipulation as a literary play form. On the other hand, as detailed exhaustively by Schmiedl, practitioners of divination also used and altered the visual, phonetic, and semantic structure of Chinese characters to gain insights into events and objects in the material world.
What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.