CHAPTER 1. What the Cultural Revolution Was, and Why It Happened

1991 ◽  
pp. 1-49
Author(s):  
Qi Wang

Chapter 1 first provides a succinct account of the representational mechanisms of subjectivity and spatiality found in yangbanxi, the famous model operas (along with their contemporaneous cinematic reproductions) of the Cultural Revolution. It then discusses the screen subjectivities in the 1980s and rediscovers a 1980 film, Night Rain in Bashan, which qualifies as an uncanny harbinger of contemporary independent cinema in terms of its imaging of a borderline subjectivity: a forsaken child. This chapter concludes with an elaborate discussion of the Forsaken Generation whose historical self-portraiture is evidenced by a range of contemporary cultural forms including literature, music, painting, theatre, and cinema.


Asian Survey ◽  
1968 ◽  
Vol 8 (5) ◽  
pp. 349-363 ◽  
Author(s):  
Jurgen Domes

Asian Survey ◽  
1974 ◽  
Vol 14 (4) ◽  
pp. 372-395 ◽  
Author(s):  
Harvey W. Nelsen

1981 ◽  
Vol 3 (2) ◽  
pp. 36-46
Author(s):  
Ulf Haxen

The conquest of Spain by the Arabs, allegedly prompted by leaders of the Jewish population after the fall of the Visigothic regime, 711, opened up an era in Medieval European history which stands unmatched as far as cultural enlightenment is concerned. Philosophy, belles lettres and the natural sciences flourished in the academies established by the Arab savants in the main urban centres. In the wake of the cultural revolution, a new branch of scholarship came into being – Hebrew philology. From the midst of this syncretistic, Mozarabic, milieu a remarkable poetic genre emerged. The study of Mozarabic (from Arabic, musta’riba, to become Arabicized) poetry has proved as one of the most fertile and controversial fields of research for Semitist and Romanist scholars during the past decades.


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