Suchergebnisse

A legal scholar's searing critiques of Xi Jinping's government draw much of their power from China's rich literary language and centuries-old tradition of eloquent, principled dissent against unjust rulers.

The starting point of this paper is the 1986 artwork of the then Xiamen-based artist Wu Shanzhuan, called 'Red Humor', which reworked references to big-character posters (dazi bao 大字报) and other Mao-era forms of political discourse, recalling the Cultural Revolution. It explains how Wu's installation offered a provocative microcosm of the overwhelming mood engendered by a logocentric movement to 'paint the nation red' with word-images during the years 1966-1967. This discussion of the hyper-real use of the dazi bao during China's Cultural Revolution era (c.1964-1978) allows us to probe into 'the legacies of the word made image' in modern China. The paper argues that, since the 1980s, Wu Shanzhuan has had many emulators and 'avant-garde successors', since we have seen multiple examples of parodic deconstructions of the cultural authority of the Chinese character (zi) in recent decades.

The starting point of this paper is the 1986 artwork of the then Xiamen-based artist Wu Shanzhuan, called 'Red Humor', which reworked references to big-character posters (dazi bao 大字报) and other Mao-era forms of political discourse, recalling the Cultural Revolution. It explains how Wu's installation offered a provocative microcosm of the overwhelming mood engendered by a logocentric movement to 'paint the nation red' with word-images during the years 1966-1967. This discussion of the hyper-real use of the dazi bao during China's Cultural Revolution era (c.1964-1978) allows us to probe into 'the legacies of the word made image' in modern China. The paper argues that, since the 1980s, Wu Shanzhuan has had many emulators and 'avant-garde successors', since we have seen multiple examples of parodic deconstructions of the cultural authority of the Chinese character (zi) in recent decades.

AbstractThe opening ceremony of the 29th Olympiad in Beijing was celebrated in China as an opportunity for the country to "tell its story to the world." This article offers a forensic analysis of that story and how it was created under Party fiat with the active collaboration of local and international arts figures. In a scene-by-scene description of the ceremony, the article also reviews the symbiotic relationship of avant-garde cultural activists and the party-state, a relationship that has continuously evolved throughout the Reform era (since 1978). It also discusses contentious historical issues related to the revival of real and imagined national traditions in the era of China's re-emergence on the global stage.

Hong Kong has not only shaped much of China's popular culture, it has also been a key port for the packaging and re-export of Chinese dissident culture for over a decade. With its return to China in 1997, all that will come to an end. So, too, will its unique role in contemporary Chinese history as the mediator, mirror and filter for mainland and Taiwan exchanges

Die Kinder der Kulturrevolution und der Reformära, die in China langsam zu Einfluß und auch Geld gelangen, haben ein neues Selbstwertgefühl und nationalistische Tendenzen entwickelt. Dieser junge Nationalstolz kann möglicherweise als Kitt dienen für die Verbindung zwischen nicht-offizieller Kultur, Staat und Kapital in der zunehmend fragmentierten chinesischen Welt. Am Beispiel der öffentlichen Medien sowie der jüngeren Literatur Chinas, aber auch politischer Ereignisse wie des Aufstandes 1989 analysiert der Autor die Ableitung des neuen Patriotismus aus historischen wie jüngeren politischen Strukturen. Er diskutiert, wie sich Nationalstolz in moderne Denkansätze über die chinesische Gesellschaft integriert, und wie er mit dem parallel verbreiteten "Selbsthaß" oder Skeptizismus in Verbindung steht. (FUB/APCh-Emn)

Der Artikel beschreibt die Paradoxa der chinesischen Kulturpolitik der Jahre 1989-1991, die sich zum einen durch Repressionen gegen Schriftsteller und Journalisten (ideologische Säuberungskampagnen, Literatur- und Pressezensur), zum anderen aber durch die Duldung gewisser Formen der literarischen und journalistischen Opposition ausgezeichnet. Bestandteil des Textes ist ein nach Literatursparten gegliederter Überblick über die wichtigsten volksrepublikanischen Neuerscheinungen. (BIOst-Hml)

Since 1949, culture in mainland China has shared the fate of virtually every other field of endeavour, prospering and suffering in turn according to the dictates of political leaders. In this article the author applies a schema formulated by the Hungarian dissident-poet Miklos Haraszti in his samizdat book "The Velvet prison: artists under state socialism" to the situation in China and presents an overview of mainland Chinese culture in the post-1976 "New Age". The author points out in particular the effect that major post-Mao political movements have had in shaping the peculiar world-view of China's state artists. (DÜI-Sen)