The Fall of Lin Piao

1973 ◽  
Vol 55 ◽  
pp. 427-449 ◽  
Author(s):  
Philip Bridgham

By 1964 Mao Tse-tung had lost effective control over much of the Party hierarchy set up by his “successor,” and also over the state administrative apparatus… Liu Shao-ch'i and his like-minded comrades utilized the Mao cult in theory and slighted Maoism in practice… Mao was convinced that the people and Party rank and file were with him but were misled by his disloyal opposition. … Edgar Snow, “Aftermath of the Cultural Revolution,” inThe New Republic, 10 April 1971.

2017 ◽  
Vol 63 (2) ◽  
pp. 265-283
Author(s):  
Subhendu Ranjan Raj

Development process in Odisha (before 2011 Orissa) may have led to progress but has also resulted in large-scale dispossession of land, homesteads, forests and also denial of livelihood and human rights. In Odisha as the requirements of development increase, the arena of contestation between the state/corporate entities and the people has correspondingly multiplied because the paradigm of contemporary model of growth is not sustainable and leads to irreparable ecological/environmental costs. It has engendered many people’s movements. Struggles in rural Odisha have increasingly focused on proactively stopping of projects, mining, forcible land, forest and water acquisition fallouts from government/corporate sector. Contemporaneously, such people’s movements are happening in Kashipur, Kalinga Nagar, Jagatsinghpur, Lanjigarh, etc. They have not gained much success in achieving their objectives. However, the people’s movement of Baliapal in Odisha is acknowledged as a success. It stopped the central and state governments from bulldozing resistance to set up a National Missile Testing Range in an agriculturally rich area in the mid-1980s by displacing some lakhs of people of their land, homesteads, agricultural production, forests and entitlements. A sustained struggle for 12 years against the state by using Gandhian methods of peaceful civil disobedience movement ultimately won and the government was forced to abandon its project. As uneven growth strategies sharpen, the threats to people’s human rights, natural resources, ecology and subsistence are deepening. Peaceful and non-violent protest movements like Baliapal may be emulated in the years ahead.


1990 ◽  
Vol 123 ◽  
pp. 485-502 ◽  
Author(s):  
Randall Stross

During the 1980s, bracketed by the Third Plenum in 1978 and the suppression of the democracy movement in 1989, China edged, step by step, away from the orthodoxies of the Cultural Revolution, and each reversal excited a certain amount of commentary both within and without China. As time passed, and the list of reintroduced institutions and practices grew ever longer, habituation reduced the surprise of succeeding announcements. But the reintroduction of advertising, a cental totem of advanced capitalist culture, occupied a particularly significant place on the list because its reappearance in China forced the Chinese to reconsider distinctions that had formerly been drawn between capitalist and socialist societies. For most of its history, the People's Republic had castigated advertising as the apotheosis of the capitalist religion of consumption. This was especially so in the late 1960s during the height of the Cultural Revolution. Afterwards few commercial billboards or newspaper advertisements interrupted the skein of relentlessly political messages that crossed public space. When advertising was officially reintroduced in 1979, and its sanctioned scope expanded beyond industrial goods, the state faced a daunting ideological task: rebuilding a case for advertising in a socialist system that had long defined itself as one that did not need commercial exhortation. In essence, it had to sell the legitimacy of selling.


2019 ◽  
Vol 2 ◽  
pp. 34-45
Author(s):  
Mia Sanders

This zine explores the intergenerational effects of my family’s forced migration—from Changsha to Taipei during the Cultural Revolution, and from Taipei to Toronto after my mother was born. I grew up in a difficult household environment, in large part because of my mother’s PTSD: a direct result of the trauma she has experienced throughout her lifetime in the diaspora. I now live with PTSD, as well. ”Don’t tell me women aren’t the stuff of heroes” is a meditation on displacement from home—across generations and borders—and the experience of finding a sense of home in the people who have hurt you the most.


Author(s):  
Jing Meng

In Chapter 3, 11 Flowers represents personal and fragmented memories of the Cultural Revolution from an 11-year-old boy’s perspective. These memories challenge the monolithic narrative of history and the Maoist rhetoric of revolution. At the same time, this fragmented narrative mode enables individual agency in narrating and constructing history. In addition, through portrayals of everyday life in the Maoist era, the film reveals how the dominant ideology at that time was strategically misinterpreted by ordinary people and was dispersed in everyday life. Socialism, in this context, becomes a mystery, a joke, and a traumatic awakening. In the lm, art possesses enlightening power for the 11-year-old boy, who begins to obtain self-awareness through painting. The film thus conveys the director’s authorial enunciation and his belief in art as a form of liberation, not only for a boy in the Cultural Revolution but also for Wang Xiaoshuai as a film-maker. The shifting trajectory of Wang’s film-making—from independent to art house—alludes to the shifting relations between film-making, the state, and the market. In 11 Flowers, personal memories become the hallmark of Wang’s auteur expression.


1985 ◽  
Vol 104 ◽  
pp. 641-656
Author(s):  
D. E. Pollard

The leadership in literature and the arts that replaced the appointees of the “gang of four” in the late 1970s was formed of the old guard. Their policies were restorationist. They reversed the judgments of the Cultural Revolution, giving approval to all the theories then tarred black, notably “the broad road for realism” (which allowed for artistic diversity), “the deepening of realism” (which meant that not everything needed to be depicted as fine and dandy), and “middle characters” (intended to break the monopoly of proletarian heroes). They interpreted the principle that literature should serve socialism and serve the people relatively liberally. Serving the people meant “the whole people” (a formulation for which Zhou Yang had been condemned); and when the formula of “workers, peasants and soldiers” was repeated, it was pointed out that “workers” included brain workers. The enjoyment principle was also invoked.


1999 ◽  
Vol 160 ◽  
pp. 1019-1035 ◽  
Author(s):  
Mary G. Mazur

On 17 May 1996 at the 30th anniversary of the beginning of the Great Cultural Revolution, a group of about 40 people met in the number two crypt at Babaoshan national cemetery on the western outskirts of Beijing where the ashes of China's highest elite are interred. They met at that particular time in memory of four men who had been declared traitors and enemies of the state in 1966 at the beginning of the Cultural Revolution. In this crypt are kept the ashes of three of the men, Deng Tuo, Wu Han and Liu Ren. The ashes of the fourth, Liao Mosha, were scattered, according to his wishes, at the foot of a tree beneath the Great Wall.


Author(s):  
Tânia Ganito ◽  

Drawing on The Remote Kingdom of Women (1988), the novel written by Chinese author Bai Hua (1930-2019), this essay examines how post-Mao China articulated the notions of memory and identity, as well as of belonging and othering, as an attempt to overcome the state of fragility caused by the trauma of the Cultural Revolution and the post-revolutionary growing influence of Western culture. It proposes to explore the way some of the literary works produced during this period were to promote an encounter between a fragmented yet hegemonic culture and the cultures of the internal ethnic Other, and how this encounter between majority and minority subjects was to highlight precisely the condition of fragility that underlies the very concept of identity. Keywords: China; Literature; Bai Hua; Identity; Majority; Minorities.


Humaniora ◽  
2012 ◽  
Vol 3 (1) ◽  
pp. 194
Author(s):  
Tukino Tukino

The goal of the article was to remind the state authorities in order to realize that Indonesia was set up aiming for the welfare of the people. Qualitative research was conducted. Data obtained from literature studies and field observations. The analytical method used was descriptive analysis. The results indicate that Indonesia are often far from people's expectations. Authorities, especially of late just thinking about state power without thinking about the lives of the people in general. Indeed, attention to the people of Indonesia by a regime that ever existed up and down sometimes. However, in recent times with the number of cases that exist in the country of Indonesia plus the slogan 'the autopilot' illustrates that the country further and further away from the people themselves. Therefore, the need for Indonesia to return the State Government to be more focused on the welfare of the people widely in the framework towards the welfare state because that is true the goals of Indonesia country was built.  


Author(s):  
Hon-Lun Yang

This chapter examines music censorship in the People’s Republic of China and its relationship to socialist ideology. After assessing the ideology of socialist music in the PRC, the chapter provides some examples of music censorship during the country’s history. It then highlights some of the intricacies and complexities in present-day music censorship in the PRC, including censorship on the Internet. It considers the musical genres that were taken out of the PRC’s soundscape, including Shanghai pop, and the return of pop-style songs after the Cultural Revolution following the adoption of the Reform and Open Policy. It analyzes the factors that explain why rock and roll never quite overcame its marginalized status in the PRC and has always been treated with caution by the state. The chapter concludes by focusing on music censors and censored music in the PRC.


2020 ◽  
Vol 7 (1) ◽  
pp. 6-33
Author(s):  
Douglas M. Gildow

A common narrative of Buddhist monasticism in modern China is that monastic institutions were virtually eliminated during the Cultural Revolution period (1966–1976) but have undergone continuous revival since that time. This simplistic narrative highlights differences in state-monastic relations between the Maoist and post-Maoist eras, even as it oversimplifies various developments. In this article, I analyze the notion of revival and assess the state of Han Buddhist monasticism in the prc. My focus is on clarifying the “basic facts” of monasticism, including the numbers and types of monastics and monastic institutions. I draw on studies published since Holmes Welch’s works as well as on my own fieldwork conducted in China since 2006. This article questions the revival metaphor and shows that it is misleading. First, as Welch noted for the Republican period, recent developments are characterized by innovations as much as by revivals. Second, evidence for the growth of monasticism from around the year 2000 is weak. Yet in two aspects, monasticism today revives characteristics of Republican-period monasticism: ritual performance is central to the monastic economy, and Buddhist seminaries are important for monastic doctrinal education.


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