The Change of Female Consciousness in Ding Lings Novel Creation

This article first explains the concept of female consciousness and the role of Ding Ling’s literature in female consciousness; then it elaborates on the female meaning in Ding Ling’s novel creation. The development and transformation of consciousness, from resistance to questioning to attachment; then an introduction to the writers who created female consciousness during the revolutionary period in both literature and life and compare; finally, introduced the content and characteristics of current female consciousness, reflecting the fact that female consciousness will gradually become successful. Keywords: Ding Ling's novels, female consciousness change

The rights of performers in the legal practice of the Russian Empire: an agreement between the Joint-Stock Company “Gramophone” and the Society of periodicals and literature personalities

The article is devoted to the history of formation of the mechanism for protecting the rights of performers in Russia in the pre-revolutionary period. Analyzing one of the first agreements between participants of copyright and related rights’ market, the author examines the specifics of their relationship in the absence of legal protection means, enshrined in the law.

Reflections on the Integration of Red Culture into University Ideological Education

Ideological education should learn from our party's exploration of the historical development and great practice of socialism with Chinese characteristics, understand and grasp the historical inevitability of socialism with Chinese characteristics, and constantly establish the belief and confidence to fight for the lofty ideal of communism and the common ideal of socialism with Chinese characteristics. Red culture is a unique culture created by the Communist Party of China (CPC)and the people during the revolutionary period, and it is an important resource for ideological education. As for this area of Jilin Province, it is rich in red resources. If we can apply the red resources of Jilin Province in the teaching of university ideology and give full play to the value of the red resources of Jilin Province, we can enrich the basic content of university ideology teaching and correctly guide students' three views. This paper will briefly introduce the significance of the integration of red culture into university ideological education, analyze the specific application strategies, and provide reference for the development of university red culture education activities.

The Presence of Maoism in Mexico

During the Cold War, the influence of Maoism as a third way of establishing a new international order inspired several Latin American guerrilla groups, including some in Mexico. This article analyzes the influence of Maoism in Mexico in particular, and pays specific attention to how Florencio Medrano, a peasant leader, was motivated by Maoist thought to establish the Rubén Jaramillo Proletarian Neighborhood, a self-governing neighborhood, and how this site was considered a critical factor for his development as a guerrilla. In the continuing debate over the relationship between agency and structure, the life and work of Florencio Medrano evidences how both social context and personal history influenced his aspirations and demands. By conducting an analysis of primary and secondary sources, this article analyzes some elements of Maoist thought and its diffusion in Latin America in the context of the Cold War. In addition, the article explains the political formation of Florencio Medrano in the Mexican post-revolutionary period, examines Maoist influences on his political formation and participation in pro-communist organizations, and reviews Maoist influence on the organization of the Rubén Jaramillo Neighborhood. Finally, the conclusions emphasize how the peasant origins of Medrano gave rise to his particular understanding of Maoism.

Hegemony and mediations in melodrama of the Golden Age of Mexican cinema

<p>The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. His films show a masculinity in transition and how lower-class men could cope with this change. Likewise, the depiction of women in Golden Age film overall supports the stabilising goals of the 1940s Revolutionary government, while also providing some transgressive figures. Therefore, these films helped the Mexican audience process the sudden modernization of the post-Revolutionary period, which was in the state’s best interest; however, the masses were also able to reconfigure the messages of these films and find their own sense of meaning in them.</p>

Hegemony and mediations in melodrama of the Golden Age of Mexican cinema

<p>The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. His films show a masculinity in transition and how lower-class men could cope with this change. Likewise, the depiction of women in Golden Age film overall supports the stabilising goals of the 1940s Revolutionary government, while also providing some transgressive figures. Therefore, these films helped the Mexican audience process the sudden modernization of the post-Revolutionary period, which was in the state’s best interest; however, the masses were also able to reconfigure the messages of these films and find their own sense of meaning in them.</p>

The Urbanites and the New Existentialism

The Gorozhane (The Urbanites) was the first independent literary association to seek official recognition since the early 1930s. As such, the group represents the emergence of a transitional social sphere in the Soviet Union. While insisting on their autonomy and non-engagement with Soviet cultural and political life, the Urbanites nevertheless were not content to remain underground and sought recognition from official Soviet institutions. The group is also an example of the simultaneous adaptation and depoliticization of early revolutionary culture in the 1960s. Actively modeling themselves on the literary collectives of the early post-revolutionary period and drawing on the arsenal of literary tools developed by Russian and Soviet modernists (Andrey Platonov, Isaac Babel, Yuri Olesha, and others), the Urbanites nevertheless viewed literature as a radically autonomous sphere, existing outside of politics, history, and ideology, and adopted modernist literary devices without regard for the historical circumstances and ideological conflicts that shaped them.