Japan's Ignored Cultural Revolution: The Separation of Shinto and Buddhist Divinities in Meiji ("Shimbutsu Bunri") and a Case Study: Tōnomine

1984 ◽  
Vol 23 (3) ◽  
pp. 240-265 ◽  
Author(s):  
Allan G. Grapard
Keyword(s):  
Cultural Revolution

Venice Between Fascism and International Tourism, 1911–45

Modern Italy ◽  
1999 ◽  
Vol 4 (1) ◽  
pp. 5-23 ◽  
Author(s):  
R.J.B. Bosworth
Keyword(s):  
Cultural Revolution ◽  
Political History ◽  
International Tourism ◽  
Liberal Democratic ◽  
Italian City ◽  
Fascist Regime ◽  
The Cultural Revolution

SummaryThis article uses Venice as a case study of the ‘cultural revolution’ urged by some historians as a feature of the totalitarianizing ambition of the Fascist regime. But Bosworth finds a Venice which, though plainly affected by Fascism, nonetheless preserved much that was its own and much that expressed a continuity with the liberal era before 1922 and the liberal democratic one after 1945. He shows that many of the rhythms of Venetian life moved in ways which were different from those of political history, and argues that such differences ensured that Fascism scarcely instituted an all-controlling and completely alienating totalitarian society, at least in this Italian city.

‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour

2021 ◽  
Vol 18 (3) ◽  
pp. 395-418
Author(s):  
BESS XINTONG LIU
Keyword(s):  
Cold War ◽  
Cultural Revolution ◽  
Art Music ◽  
Western Art ◽  
History Of ◽  
Western Art Music ◽  
Historical Trajectory ◽  
The Cold War ◽  
Musical Diplomacy

AbstractThis article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).

The Soviet Discourse on the Origin and Class Character of Islam, 1923-1933

2009 ◽  
Vol 49 (1) ◽  
pp. 1-48 ◽  
Author(s):  
Michael Kemper
Keyword(s):  
Economic Policy ◽  
Cultural Revolution ◽  
New Economic Policy ◽  
Critical Studies ◽  
Muslim Society ◽  
Totalitarian State ◽  
The Cultural Revolution

AbstractThe article examines the growing radicalization of the Marxist anti-Islamic discourse in the USSR as a case-study of "Soviet Orientalism". To which of Marx's five socio-economic formations should Muslim society be assigned? During the relatively pluralistic period of the New Economic Policy (1921-1927) Marxist scholars offered various answers. Many argued that Islam emerged from the trading community of Mecca and was trade-capitalist by nature (M. Reisner, E. Beliaev, L. Klimovich). Others held that Islam reflected the interests of the agriculturalists of Medina (M. Tomara), or of the Bedouin nomads (V. Ditiakin, S. Asfendiarov); and some even detected communist elements in Islam (Z. and D. Navshirvanov). All authors found support in the Qur'ān and works of Western Orientalists. By the late 1920s Marx' and Engels' scattered statements on Islam became central in the discourse, and in 1930 Liutsian Klimovich rejected the Qur'ān altogether by arguing that the book, as well as Muhammad himself, were mere inventions of later times. By the end of the Cultural Revolution (1929-1931) it was finally "established" that Islam was "feudal" in character, and critical studies of Islam became impossible for decades. The "feudal" interpretation legitimized the Soviet attack on Islam and Muslim societies at that time; but also many of the Marxist writers on Islam perished in Stalin's Terror. We suggest that the harsh polemics the authors directed against each other in the discourse contributed to their later repression. By lending itself to the interests of the totalitarian state, Soviet Marxist Islamology committed suicide—the ultimate form of "Orientalism".

Introduction: Locating global contemporary art in global China

Above Sea ◽  
2019 ◽  
pp. 1-25
Author(s):  
Jenny Lin
Keyword(s):  
Twentieth Century ◽  
Cultural Capital ◽  
Contemporary Art ◽  
Cultural Revolution ◽  
Rapid Growth ◽  
Art And Design ◽  
Rigorous Model ◽  
The City ◽  
Radical Transformation

The introduction argues that the global turn in contemporary art has been limited by overly generalized cultural categorizations and inadequate coverage of the local social, economic, political, and historical contexts of non-Western artworks. In response, the author posits an urban-focused, historically grounded, and theoretically rigorous model of disciplinary diversification that foregrounds key examples of art and design created in and about Shanghai. The city is described as an exemplary case study with which to localize global contemporary art, accounting for Shanghai’s longstanding “East-meets-West” mythology and genealogy stemming from its early twentieth century semi-colonial past and radical transformation during the Cultural Revolution (1966-76). The introduction acknowledges how Republican Shanghai has been recognized by scholars as a modern cultural capital with its own unique Shanghai style, haipai (literally sea style), and proposes that we must also consider the city’s art and design of the 1990s-2000s, the period of Shanghai’s most rapid growth as an international financial and cultural capital.

The Politics of the Chinese Cultural Revolution: A Case Study

1978 ◽  
Vol 57 (1) ◽  
pp. 231
Author(s):  
Donald S. Zagoria ◽  
Hong Yung Lee
Keyword(s):  
Cultural Revolution ◽  
Chinese Cultural Revolution

The Witch-Hunting Vanguard: The Central Secretariat's Roles and Activities in the Anti-Rightist Campaign

2011 ◽  
Vol 206 ◽  
pp. 391-411 ◽  
Author(s):  
Yen-lin Chung
Keyword(s):  
Cultural Revolution ◽  
Chinese Communist Party ◽  
Mao Zedong ◽  
The Political ◽  
Republic Of China ◽  
Political Processes ◽  
The People ◽  
The Witch ◽  
Witch Hunt

AbstractWhen the king went astray, the people suffered for it. Just as a wayward king needed loyal and capable courtiers to implement his wishes, so too did Mao Zedong in the People's Republic of China. The Anti-Rightist Campaign was one of Mao's controversial policies, and involved him delegating his trusted followers to implement his political initiatives. This article examines how the Central Secretariat, led by Deng Xiaoping, effectively implemented and strictly supervised the process, as well as the negative influences of the Central Secretariat on this witch-hunt-like campaign. It thus provides a case study of how the Central Secretariat operated and functioned as a powerful political apparatus in the political processes of the Chinese Communist Party during the pre-Cultural Revolution period.

scholarly journals Music Iconography, Opera, Gender and Cultural Revolution – The Case Study of the Kwok On Collection (Portugal)

2018 ◽  
Vol 59 (3-4) ◽  
pp. 365-398
Author(s):  
Luzia Aurora Rocha
Keyword(s):  
Cultural Revolution ◽  
Mao Zedong ◽  
Dominant Male ◽  
Nation State ◽  
The Feminine ◽  
New Vision ◽  
New Nation ◽  
Indispensable Tool ◽  
Music Iconography

Abstract This study aims to revisit the creation of opera, symphonic versions of opera and ballet (yangbanxi) during the period of the Cultural Revolution of Mao's China. Beginning with the Kwok Collection (Fundação Oriente, Portugal), I aim to establish a new vision of the yangbanxi (production and reception) by means of an analysis of sources with musical iconography. The focus of the study is on questions of gender and the way in which the feminine was an indispensable tool for the construction and dissemination of the idea of a new nation-state. This study thus aims to make a new contribution to the area, showing how the construction of new opera heroines, communist and of the proletariat, is built on the image of the first “heroine-villain” constructed by the regime, Jiang Qing, the fourth wife of Mao Zedong. The title chosen demonstrates the paradox of the importance of woman in opera and in politics at a time when the only image to be left to posterity was that of a dominant male hero, Mao Zedong.

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