Xing Fan
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9789888455812
- eISBN:
- 9789888455164
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888455812.003.0005
- Subject:
- History, Asian History
Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation ...
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Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation reconfirmed the priority of modern plays in xiqu creation, reinforced the significance of modern jingju in literature and art, and firmly established Jiang Qing as the leader of this movement. Model works were designated as the exemplar of socialist culture construction, exemplifying such creative principles as the Basic Task, the Combination of Revolutionary Realism and Revolutionary Romanticism, and the Three Prominences. Chapter 4 includes a close analysis of Jiang Qing’s controversial role in supervising modern jingju creation and an analytical chronicle of five major versions of Taking Tiger Mountain by Strategy—from the first version in 1958 to the final model version in 1970—as an illustration of changes in plotting and characterization during the creative process of model jingju development.Less
Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation reconfirmed the priority of modern plays in xiqu creation, reinforced the significance of modern jingju in literature and art, and firmly established Jiang Qing as the leader of this movement. Model works were designated as the exemplar of socialist culture construction, exemplifying such creative principles as the Basic Task, the Combination of Revolutionary Realism and Revolutionary Romanticism, and the Three Prominences. Chapter 4 includes a close analysis of Jiang Qing’s controversial role in supervising modern jingju creation and an analytical chronicle of five major versions of Taking Tiger Mountain by Strategy—from the first version in 1958 to the final model version in 1970—as an illustration of changes in plotting and characterization during the creative process of model jingju development.
Xing Fan
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9789888455812
- eISBN:
- 9789888455164
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888455812.003.0002
- Subject:
- History, Asian History
Time: October 1935 to March 1947. Jingju at Yan’an is examined in the context of the CCP’s vision of a new democratic culture, as articulated in Mao Zedong’s “On New Democracy” and “Talks at the ...
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Time: October 1935 to March 1947. Jingju at Yan’an is examined in the context of the CCP’s vision of a new democratic culture, as articulated in Mao Zedong’s “On New Democracy” and “Talks at the Yan’an Forum on Literature and Art.” The author examines discrepancies between official doctrine and other sources including personal memoirs, performance records and script analysis, arguing that jingju at Yan’an offers cultural productions that are far more complex than those depicted in CCP’s official narrative. The author presents two overlooked aspects. One is that, although the CCP was determined to construct a new democratic culture, in terms of jingju performance in Yan’an, traditional repertory was more popular and was more frequently staged than both newly written historical plays and modern plays. The other is that, as a close analysis of the 1944 Driven to Join the Liang Mountain Rebels reveals, Mao’s claim of “an epoch-making beginning” of revolutionizing old theatre was only partly realized through adjusting thematic concerns; it did not reflect the practitioners’ dilemma of devising a satisfying form to serve new content.Less
Time: October 1935 to March 1947. Jingju at Yan’an is examined in the context of the CCP’s vision of a new democratic culture, as articulated in Mao Zedong’s “On New Democracy” and “Talks at the Yan’an Forum on Literature and Art.” The author examines discrepancies between official doctrine and other sources including personal memoirs, performance records and script analysis, arguing that jingju at Yan’an offers cultural productions that are far more complex than those depicted in CCP’s official narrative. The author presents two overlooked aspects. One is that, although the CCP was determined to construct a new democratic culture, in terms of jingju performance in Yan’an, traditional repertory was more popular and was more frequently staged than both newly written historical plays and modern plays. The other is that, as a close analysis of the 1944 Driven to Join the Liang Mountain Rebels reveals, Mao’s claim of “an epoch-making beginning” of revolutionizing old theatre was only partly realized through adjusting thematic concerns; it did not reflect the practitioners’ dilemma of devising a satisfying form to serve new content.
Catherine E. Paul
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781942954057
- eISBN:
- 9781781384053
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781942954057.001.0001
- Subject:
- Literature, American, 20th Century Literature
In 1938, American poet Ezra Pound published Guide to Kulchur, a book so radically different from his earlier writing that readers might not have believed that it was written by the same firebrand ...
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In 1938, American poet Ezra Pound published Guide to Kulchur, a book so radically different from his earlier writing that readers might not have believed that it was written by the same firebrand aesthetician who had advocated in 1913 that poets go in fear of abstractions. But Guide to Kulchur was only the latest example of a new kind of prose that Pound had been writing—fiercely invested in politics and the mobilization of cultural heritage to its service. Pound’s new modernism came as a direct effect of his investment in fascism. Since the last monographic treatment of Pound’s fascism, scholars of literature, history, art history, urban design, and music have uncovered important aspects of the fascist regime’s use of culture to foment Italian national identity. These studies reveal the cultural, mythical, rhetorical, and intellectual aspects of that regime—more than enough new knowledge to require a reappraisal of perhaps the most famous, certainly the most notorious, American in Italy in that era, and perhaps the entire twentieth century. Unlike previous discussions of Pound’s adoption of Italian fascism, which focus mostly on his political and economic interests, this book reveals the importance of the cultural projects of Mussolini’s fascist regime. By bringing Italian primary sources and new approaches to the cultural project of Mussolini’s regime to bear on Pound’s prose work (including unpublished material from the Pound Papers and untranslated periodical contributions), Paul shows how Pound’s modernism changed as a result of involvement in Italian politics and culture. At the same time, it uses the familiar figure of Pound to provide an entry for scholars of Anglo-American modernism into the diverse and complex realm of Italian modernism.Less
In 1938, American poet Ezra Pound published Guide to Kulchur, a book so radically different from his earlier writing that readers might not have believed that it was written by the same firebrand aesthetician who had advocated in 1913 that poets go in fear of abstractions. But Guide to Kulchur was only the latest example of a new kind of prose that Pound had been writing—fiercely invested in politics and the mobilization of cultural heritage to its service. Pound’s new modernism came as a direct effect of his investment in fascism. Since the last monographic treatment of Pound’s fascism, scholars of literature, history, art history, urban design, and music have uncovered important aspects of the fascist regime’s use of culture to foment Italian national identity. These studies reveal the cultural, mythical, rhetorical, and intellectual aspects of that regime—more than enough new knowledge to require a reappraisal of perhaps the most famous, certainly the most notorious, American in Italy in that era, and perhaps the entire twentieth century. Unlike previous discussions of Pound’s adoption of Italian fascism, which focus mostly on his political and economic interests, this book reveals the importance of the cultural projects of Mussolini’s fascist regime. By bringing Italian primary sources and new approaches to the cultural project of Mussolini’s regime to bear on Pound’s prose work (including unpublished material from the Pound Papers and untranslated periodical contributions), Paul shows how Pound’s modernism changed as a result of involvement in Italian politics and culture. At the same time, it uses the familiar figure of Pound to provide an entry for scholars of Anglo-American modernism into the diverse and complex realm of Italian modernism.
