Women in Rural China: Policy Towards Women Before and After the Cultural Revolution. By Vibeke Hemmel and Pia Sindbjerg. London and Atlantic Highlands, N.J.: Curzon Press and Humanities Press, 1984. (Scandinavian Institute of Asian Studies, Studies on Asian Topics, no. 7.) x, 128 pp. Appendix, Notes, Bibliography. N.p. - Lives: Chinese Working Women. Edited by Mary Sheridan and Janet W. Salaff. Bloomington: Indiana University Press, 1984. (Published in association with University of Toronto/York University Joint Centre on Modern East Asia.) xii, 242 pp. Notes. N.p.

1986 ◽  
Vol 45 (3) ◽  
pp. 567-571
Author(s):  
Marilyn B. Young
Keyword(s):  
East Asia ◽  
Cultural Revolution ◽  
Rural China ◽  
Working Women ◽  
Asian Studies ◽  
Indiana University ◽  
China Policy ◽  
University Of Toronto ◽  
Before And After ◽  
The Cultural Revolution

Women in Rural China: Policy Towards Women Before and After the Cultural Revolution

Man ◽  
1986 ◽  
Vol 21 (4) ◽  
pp. 761
Author(s):  
Eugene Cooper ◽  
Vibeke Hemmel ◽  
Pia Sindbjerg
Keyword(s):  
Cultural Revolution ◽  
Rural China ◽  
China Policy ◽  
Before And After ◽  
The Cultural Revolution

Der Aufstieg Ostasiens in der Weltpolitik 1840–2000 (The Rise of East Asia in World Politics, 1840–2000). By Gottfried-Karl Kindermann. [Stuttgart: Deutsche Verlags-Anstalt, 2001. €44.99. 727 pp. ISBN 3-421-05174-7.]

2003 ◽  
Vol 176 ◽  
pp. 1097-1098
Author(s):  
Reinhard Drifte
Keyword(s):  
East Asia ◽  
English Language ◽  
World Politics ◽  
Pacific War ◽  
Asian Studies ◽  
Mainland Chinese ◽  
Republic Of China ◽  
The Pacific ◽  
The Us ◽  
Before And After

This monumental work is in many ways the essence of Professor Kindermann's 50 years' research on East Asia, theoretically based on the Munich school of neo-realism (of which he is the pre-eminent representative) and inspired by his many personal encounters with those Asian leaders who shaped the region's rise in world politics. It also introduces interesting research by other German scholars, which is often excluded from the English-language literature that dominates the Asian studies field. The focus of the analysis is on the foreign policy of the states in the West Pacific region (including Myanmar and Indochina), their interactions and their place in world politics. It is impossible to summarize the 34 chapters within this review. The books offer a superb chronological and contextual overview of a crucial period in East Asia that is highly readable and illustrated with relevant photos. The most space is devoted to China, documenting its rise from imperial victim to major economic power. The coverage of China's interaction with foreign powers and the domestic background is very detailed, especially concerning the Kuomintang before and after 1949, and the Taiwan issue. The account of the era after the Pacific War focuses mostly on the People's Republic of China. Several pages are devoted to the Quemoy crisis of 1954–55, which revealed the complexities of the US–PRC–Taiwan triangle. Kindermann demonstrates how this crisis was the first application of Washington's “calculated ambiguity” towards the PRC concerning Taiwan. A whole chapter is devoted to the second Taiwan crisis of 1958 and its aftermath in 1962. Kindermann's interviews in Taiwan show how the US actively prevented Chiang Kai-shek's plan of occupying two mainland Chinese cities to start the “liberation” of the PRC. There are four chapters on how the Communist Party established and maintained its rule over China, but the majority deal with China's foreign interactions. On Tibet, Kindermann argues that the 17-item agreement of 1951 between Tibetan leaders and the Communist government may have served as a tolerable solution to the Tibet issue and thus have prevented a lot of hardship for the Tibetan people, even though the Tibetan representatives had been coerced into signing it.

Before and After The Cultural Revolution

1974 ◽  
Vol 58 ◽  
pp. 332-348 ◽  
Author(s):  
Frederick C. Teiwes
Keyword(s):  
Cultural Revolution ◽  
Common Good ◽  
Great Emphasis ◽  
Current Policy ◽  
Ongoing Debate ◽  
Basic Change ◽  
Policy Relevance ◽  
Before And After ◽  
The Common ◽  
The Cultural Revolution

It comes as no surprise to current visitors to China that their hosts place great emphasis on the accomplishments of the Cultural Revolution. While production increases and improvements in living conditions are repeatedly cited, the basic change is spiritual – before the Cultural Revolution, elitist and selfish attitudes were allegedly widespread; since the Revolution, a new commitment to the common good by cadres and masses alike has purportedly enriched Chinese life. This preoccupation with the Cultural Revolution stems from more than a need to justify past upheavals, it reflects an ongoing debate over the realization of goals sanctified by that movement. The twin efforts of rebuilding the system and institutionalizing Cultural Revolution reforms have apparently caused deep misgivings on the part of some leaders who see a thinly disguised effort to “restore the old.” Thus the question of how China has changed since 1965 is of current policy relevance as well as intrinsic scholarly interest.

scholarly journals The Development of Marxist Shakespearean Criticism in China

2019 ◽  
Vol 20 (35) ◽  
pp. 99-113
Author(s):  
Wei Zhang
Keyword(s):  
Literary Criticism ◽  
Cultural Revolution ◽  
Class Analysis ◽  
Left Wing ◽  
Basic Principles ◽  
Before And After ◽  
Revolutionary Literature ◽  
Bian Zhilin ◽  
The Cultural Revolution

Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.

scholarly journals Zhao Jiping and the sound of resistance in Red Sorghum

2015 ◽  
Vol 56 (4) ◽  
pp. 355-366
Author(s):  
Brian C. Thompson
Keyword(s):  
Cultural Revolution ◽  
Rural China ◽  
Nobel Laureate ◽  
Mao Zedong ◽  
Musical Language ◽  
Mo Yan ◽  
Cultural Expression ◽  
Concert Music ◽  
The Impact ◽  
The Cultural Revolution

Since seizing power in 1949, China’s Communist Party has exerted firm control over all aspects of cultural expression. This policy took its most radical turn in the mid-1960s when Mao Zedong launched the Cultural Revolution (1966–1976), aiming to rid the country of bourgeois elements. The composer Zhao Jiping was a student at the Xi’an Conservatory during this period. He graduated in 1970, but was able to continue his studies only when the Central Conservatory reopened in 1978. On completing his studies, he established himself as a composer of folk-inspired music for film and the concert stage. This paper focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The paper connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.

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