Reinventing Licentiousness: Pornography and Modern China by Y. Yvon Wang

2022 ◽  
Vol 47 (1) ◽  
pp. E-13-E-15
Author(s):  
Leon Antonio Rocha
Keyword(s):  
2019 ◽  
Vol 12 (1) ◽  
pp. 34-46 ◽  
Author(s):  
Chengcheng You

This article reviews four major Chinese animated adaptations based on the classic Journey to the West. It shows how these adaptations, spanning four historical phases of modern China, encapsulate changes in Chinese national identity. Close readings underpin a developmental narrative about how Chinese animated adaptations of this canonical text strive to negotiate the multimodal expressions of homegrown folklore traditions, technical influences of western animation, and domestic political situations across time. This process has identified aesthetic dilemmas around adaptations that oscillate between national allegory and individual destiny, verisimilitude and the fantastic quest for meaning. In particular, the subjectivisation of Monkey King on the screen, embodying the transition from primitivistic impulse, youthful idealism and mature practicality up to responsible stewardship, presents how an iconic national figure encapsulates the real historical time of China.


This book offers new conceptual vocabularies for understanding how cultures have trespassed across geography and social space. From the transformations of the meanings and practices of charity during late antiquity and the transit of medical knowledge between early modern China and Europe, to the fusion of Irish and African dance forms in early nineteenth-century New York, the book follows a wide array of cultural practices through the lens of motion, translation, itinerancy, and exchange, extending the insights of transnational and translocal history. The book challenges the premise of fixed, stable cultural systems by showing that cultural practices have always been moving, crossing borders and locations with often surprising effect. The chapters offer striking examples from early to modern times of intrusion, translation, resistance, and adaptation. These are histories where nothing—dance rhythms, alchemical formulas, musical practices, feminist aspirations, sewing machines, streamlined metals, or labor networks—remains stationary.


2019 ◽  
pp. 75-89
Author(s):  
A.B. Lyubinin

The article comments on the concept of «socialism with Chinese specificity», which forms the ideological basis of the «Chinese miracle». The ideological origins of this concept, starting with Confucianism, are revealed. It has evolved to become increasingly pragmatic and to adapt to the realities of national and global development. The relation of this concept with the Marxist concept of socialism is shown. The article substantiates the fundamental theoretical thesis that in the objective-essential sense (in the elimination of, in particular, national specifics) Chinese society is a transitional form to socialism (a certain analogue of the Soviet society of the NEP period). The author talks about a «heterogeneous», «mixed» socio-economic system, the vector and nature of the future evolution of which will depend crucially on the strategic course of the CPC.


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