scholarly journals The Ocular Turn, Misty Poetry, and a Postrevolutionary Imagination

Prism ◽  
2019 ◽  
Vol 16 (1) ◽  
pp. 62-84
Author(s):  
Xiaobing Tang
Keyword(s):  
Cultural Revolution ◽  
The Political ◽  
Young Generation ◽  
Chinese Poetry ◽  
Political Implications ◽  
The Aesthetic ◽  
New Generation ◽  
Post Cultural Revolution ◽  
Bei Dao ◽  
Contemporary Chinese

Abstract “The Answer,” a poem by Bei Dao first published in 1978, marks the emergence of a defiant voice in contemporary Chinese poetry and asserts skepticism as the political stance of a young generation in post–Cultural Revolution China. It also heralds a historic transition from an era of sonic agitation to an aesthetics based on visual perception and contemplation. This rereading of Bei Dao's canonical poem and other related texts goes back to the late 1970s, when the political implications of the human senses were firmly grasped and heatedly debated. The author shows that an ocular turn occurs in “The Answer” and drives the aesthetic as well as political pursuits of a new generation of poets. He further argues that, in a moment still enthralled with a revolutionary sonic culture, Misty poetry disavowed aural excitement and was part of the reconditioning of the human senses in preparation for a postrevolutionary order and sensibility.

Bartók's influence on Chinese new music in the post-cultural revolution era

2007 ◽  
Vol 48 (1-2) ◽  
pp. 237-243
Author(s):  
Hoi-Yan Wong
Keyword(s):  
Cultural Revolution ◽  
String Quartets ◽  
New Music ◽  
Columbia University ◽  
Open Door Policy ◽  
Chen Yi ◽  
Tan Dun ◽  
New Generation ◽  
Post Cultural Revolution ◽  
Contemporary Chinese

Abstract In the wake of the Cultural Revolution (1966–76) and with China's new “Open Door” policy towards Western culture and Western new music, we have witnessed the exuberant growth of a new generation of Chinese composers. Tan Dun, Chen Yi and Bright Sheng have expressed in various ways their indebtedness to the heritage of Béla Bartók's music. Chen Yi, a fellow student of Tan Dun during her time at Central Conservatory of Music and Columbia University, recalled studying all of Bartók's six string quartets in the composition classes. Bright Sheng also openly admits that his use of the “primitiveness and savageness” of folk elements is directly modelled on the music of Bartók. The dissemination of Bartók's music in China is signified by the extent to which the journals published by China's top two music conservatories — the Central Conservatory of Music and the Shanghai Conservatory of Music — focus on discussion of this repertoire. Frank Kouwenhoven's studies of contemporary Chinese composers also point out that Bartók's influence overshadows most other major composers from the West. In this paper the reception of Bartók's music by Chinese composers in the post-Cultural Revolution era will be explored with reference to the musical as well as socio-cultural factors that fostered the influence.

Post-Mass-Media and Participation

2021 ◽  
Keyword(s):  
Mass Media ◽  
Research Group ◽  
Felix Guattari ◽  
Necessary Condition ◽  
The Political ◽  
Democratic Participation ◽  
The Aesthetic ◽  
New Generation

Three decades after Félix Guattari introduced the concept of "post-mass-media" as a necessary condition of media participation, it is by no means self-evident that his reaction to events leading up to 1989 would still attract a new generation of scholars today. Yet, the concept continually reappears to address the role of technology in democratic participation and the relation between the aesthetic and the political. Originating in discussions of the DFG research group Media and Participation, this issu

Images of Women in the Fiction of Zhang Jie and Zhang Xinxin

1989 ◽  
Vol 120 ◽  
pp. 800-813 ◽  
Author(s):  
Rosemary A. Roberts
Keyword(s):  
Women Writers ◽  
Cultural Revolution ◽  
Chinese Women ◽  
Generational Difference ◽  
Traditional Morality ◽  
Confucian Morality ◽  
Zhang Jie ◽  
Post Cultural Revolution ◽  
Contemporary Chinese ◽  
Images Of Women

Zhang Xinxin and Zhang Jie are two contemporary Chinese women writers. They began to publish in the post–Cultural Revolution era, and became well–known in the early 1980s for their fictional depiction of the problems of urban intellectual women attempting to resolve conflicts between love and career, love and marriage, and ideals and reality. Although the works of both authors present a limited challenge to traditions they believe have served to oppress women, a clear generational difference is perceptible in the attitudes they each express through their characters. Zhang Jie, born in 1937 and reaching adulthood in the idealistic climate of the 1950s, presents characters strongly influenced by both Confucian morality and socialist ideals, while Zhang Xinxin, who was born in 1953 and grew up during the Cultural Revolution period (a disillusioning experience for most of her generation), presents characters who show little enthusiasm for political ideals and are less constrained by traditional morality.

scholarly journals China’s New Poetry or Into the Mist

Asian Studies ◽  
2010 ◽  
pp. 29-40
Author(s):  
Maja Lavrač
Keyword(s):  
Cultural Tradition ◽  
Chinese Poetry ◽  
Modernist Poetry ◽  
Personal Freedom ◽  
New Generation ◽  
Contemporary Chinese

The late 1970s and early 1980s represent a period of important innovation in the development of contemporary Chinese poetry. As this was highly personal and experimental, it soon became characterized as being “misty” or “obscure”. A new generation of young poets questioned the Chinese cultural tradition and expressed the need for its re-evaluation. They tried to re-examine the meaning of literature, and while doing so, they based the foundation for their poetry on the tradition and the spirit of personal freedom and democracy of the May 4th Movement (1919), having been at the same time strongly influenced by the Western modernist poetry, in which they found alternative fresh ideas.

A Factionalism Model for CCP Politics

1973 ◽  
Vol 53 ◽  
pp. 34-66 ◽  
Author(s):  
Andrew J. Nathan
Keyword(s):  
Cultural Revolution ◽  
Political System ◽  
Time Span ◽  
The Political ◽  
Decision Making Process ◽  
Group Model ◽  
General Application ◽  
The One ◽  
Western View ◽  
Contemporary Chinese

Until the Cultural Revolution, the predominant western view of contemporary Chinese elite conflict was that it consisted of “discussion” (t'ao-lun) within a basically consensual Politburo among shifting “opinion groups” with no “organized force” behind them. The purges and accusations which began in 1965 and apparently still continue, have shaken this interpretation, and a number of scholars have advanced new analyses - sometimes explicit, sometimes implicit, sometimes of general application, sometimes applied only to a particular time span or segment of the political system. Of these new views, perhaps the most systematic - and at the same time the one which represents the least change from the pre-Cultural Revolution “opinion group” model - is the “policy making under Mao” interpretation, which sees conflict as essentially a bureaucratic decision-making process dominated by Mao.

Hegemony, Contestation, and Empowerment: The Politics of Law and Society Studies in South Korea

2014 ◽  
Vol 1 (2) ◽  
pp. 275-304
Author(s):  
Chulwoo LEE
Keyword(s):  
South Korea ◽  
Karl Marx ◽  
Max Weber ◽  
Political Engagement ◽  
Law And Society ◽  
Empirical Science ◽  
The Political ◽  
Political Implications ◽  
Academic Practices ◽  
New Generation

The philosophers have only interpreted the world, in various ways. The point, however, is to change it.(Karl Marx, Theses on Feuerbach, 1845)It can never be the task of an empirical science to provide binding norms and ideals from which directives for immediate practical activity can be derived.(Max Weber, Objectivity of Social Science and Social Policy, 1904)AbstractThis paper traces the development of law and society studies in South Korea, elucidates the political implications of the academic practices of law and society scholars, and identifies the forms of their political engagement. It canvasses the situation of law and society studies in the pre- and post-Liberation periods and analyzes the changes that have occurred since law and society came to be studied and taught in universities. The paper shows how the early generations of scholarship were sidestepped in the 1980s by the so-called “third-generation legal scholarship” and delineates the counter-hegemonic movement launched by the new generation of scholars. It throws light on the empowerment of critical law and society scholars in the post-democratization phases of the 1990s and 2000s, when many of those scholars actively participated in policy-making and civil advocacy, and discusses the tensions in those developments.

Misty Transcendence and the Irony of (Dis)belief

2019 ◽  
Vol 13 (2) ◽  
pp. 135-148
Author(s):  
Nick Barrett
Keyword(s):  
Cultural Transformation ◽  
Public Theology ◽  
Tiananmen Square ◽  
New Associations ◽  
The Aesthetic ◽  
Unique Style ◽  
New Generation ◽  
Bei Dao ◽  
The Church

AbstractIn the late 1970s and ’80s, a new generation of Chinese poets emerged with a powerful critique of the state’s aggressive political reforms. After the 1976 Tiananmen Square incident, the Bejing poet Zaho Zhenkai (known as Bei Dao) wrote a startling poem titled “The Answer” about his refusal to believe in the unquestioned ultimacy of China’s worldview. Bei Dao’s unique style of poetry helped readers make new associations that were otherwise inaccessible to them. This article examines Bei Dao’s use of metaphor in “The Answer” through the lens of the aesthetic philosopher Lambert Zuidervaart and suggests that the poet’s use of self-controverting metaphors makes an absent reality graspable and present. The article then considers the role of public theology as it listens to the witness of the poet’s bewildering evocation of accessing “the real” through disbelief. In consideration of Herman Bavinck’s essay On Contemporary Ethics, this article suggests that theologians (and religious practitioners) should resist the temptation to control the artist’s expression even when it limps with narcissism and moral deficiency. Instead, the theologian (and the church) should fight alongside the artist in helping them to share their staggering vision or, in Bei Dao’s case, the transcendent power of resiliency sustained by the shadows of the dead. This article aims to generate a fruitful dialogue between Bei Dao and the Reformed theological tradition that underscores the uncanny importance of disbelief as an alternative strategy for cultural transformation and faithful proclamation.

scholarly journals SOVIET POWER REGARDING KAZAKH CREATIVE INTELLIGENTSIA (80-90 YEARS OF THE XX CENTURY)

2020 ◽  
Vol 66 (3) ◽  
Author(s):  
A.M. Koskeyeva ◽  
Keyword(s):  
National Identity ◽  
Political System ◽  
The Political ◽  
Young Generation ◽  
Soviet Government ◽  
The People ◽  
The World ◽  
Ethnic Tension ◽  
High Level ◽  
New Generation

The article discusses the paradoxical policy of the Soviet government in the 80–90s of the twentieth century in relation to the creative intelligentsia. The author also pointed out that the problem of the threat of loss of national identity was acute at various meetings and congresses of the Kazakh creative intelligentsia before perestroika, during the thaw and stagnation. It is known that with the deepening crisis in society and the escalation of social and ethnic tension in 1986, an uprising of Kazakh students in Almaty followed. This December uprising, which shocked the world, proved that a new generation with a high level of national identity, measured by the honor of the people, came to the Kazakh land. The article also analyzes the views and actions of the young generation, especially the Kazakh youth studying in Moscow, who gave a worthy answer to the political system. And also the actions of Mukhtar Shakhanov did not go unnoticed.

DISSIDENCE AND IMMIGRATION THROUGH THE WORLDVIEW OF “MISTY POET” BEI DAO

2019 ◽  
pp. 444-451
Author(s):  
Oleksandra Hul
Keyword(s):  
Chinese Culture ◽  
Native Language ◽  
Chinese Language ◽  
Young Generation ◽  
Chinese Poetry ◽  
Totalitarian Regime ◽  
Local Dialect ◽  
Secret Code ◽  
Great Love ◽  
Bei Dao

The key focus of the Article is based on the new trend in Chinese poetry named “Misty poetry”, which appeared in China in the 20 century as a rebellion and notice of appeal in the literary circles of young generation. Under the political and social pressure of the totalitarian regime in China, and in the conditions of total control over the literary process, there appeared a new style of expressing own thoughts and believes among youth, called “Misty poetry” or revolutionary poetry. This Article is revealing the aim, preconditions and key tasks of Misty poets. Being a leader of the Misty poets’ group, popular Chinese poet Bei Dao is taken as a vivid example of revolutionary youth of the 20 century. The Article shows his political, social and literary activity as an example of the whole Misty group idea. The main aspects provided in the Article are based on the great love and respect of the Misty poets towards China, Chinese language, Chinese nature and culture. The Article shows how difficult it was for the poets to be far away from their Motherland and to have no chance to come back, how dif- ficult it was to write Chinese poetry being forbidden in native country. The Article also reveals the “Secret code of culture and nation” which is based on the symbols and words of native language. The “Secret code of culture and nation” is understood only by the native speakers, loving their Motherland. The Article uses original poetry of Bei Dao and is also based on the original historical and political facts, taking into account interviews with the poet, which show his real way of thinking in the terms of Misty poetry. The inner world of Bei Dao is described in the examples of his poetry: “Local Dialect” (“乡音”), “Hello, Bai Hua Shan” (“你好，百花山”), “Let’s go” (“走吧”). Nearly all of his poetry tells about true love for China and a great dream of using native language without fear and persecution. We provide a description of the hidden way of Bei Dao’s thinking, while analyzing his great poem “Local Dialect” (“乡音”). Each word should be examined taking into account the unique symbols of China. Bei Dao believes that only people, loving Chinese culture and loving Chinese language can under- stand the deep meaning of Misty poetry.

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