Popular Chinese Literature And Performing Arts In The People S Republic Of China 1949 1979

The essays in this volume constitute an exceptionally broad and inclusive account of Chinese literature and performing arts since 1949. Extending beyond fiction to poetry and drama, and covering song, opera, and film as well, these essays reveal a more lively and varied cultural life than that disclosed by studies confined to fiction and literary politics. Rather than stopping at the assumption that art reflects Party or government policy, the essays uncover the traditional roots of popular literature and performing art by employing literary and artistic methods of analysis. While often lacking in appeal to Western audiences, these popular arts nonetheless have their own artistic validity and convey complex meanings to broadly based Chinese audiences. The materials and analyses presented here have social as well as cultural relevance. Variety and change rather than monolithic uniformity have characterized post-1949 cultural bureaucracies, writers, performers, and audiences. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1984.

In this work, the author focuses on pington, a storytelling art using the Suzhou dialect, to explore the role of the cultural market in mediating between the state and artists in the PRC era.

When the Chinese Communist Party (CCP) seized power in October 1949 China was one of the poorest nations in the world. In fact, it was so weak it had been conquered by Japan, a country one-tenth its size, a decade earlier. Now, more than fifty years later, the People's Republic of China (PRC) is an emerging economic, political, and military superpower with the world's fastest growing economy and largest population (1.3 billion in 2005). A member of the United Nations Security Council since the early 1970s and a nuclear power, China wields enormous influence in the world community. The second edition of the Historical Dictionary of the People's Republic of China contains more than 400 cross-referenced dictionary entries on individual topics spanning China's political, economic, and social system along with short biographies on important figures_from politicians to writers and movie directors_who have shaped Chinese history during the period of Communist rule from 1949 to 2006. Supplementing the entries are a chronology, an introduction, charts outlining the structure of the Chinese government, and a bibliography of works in English, making this a superb resource for college and high school students needing a quick reference on contemporary China.

History and art come together in this definitive discussion of the Chinese woodblock print form of nianhua, literally "New Year pictures." James Flath analyzes the role of nianhua in the home and later in the theatre and relates these artworks to the social, cultural, and political milieu of North China as it was between the late Qing dynasty and the early 1950s. Among the first studies in any field to treat folk art as historical text, this extraordinary account offers original insight into popular conceptions of domesticity, morality, gender, society, modernity, and the transformation of the genre as a propaganda tool under communism.

Faces of Tradition in Chinese Performing Arts examines the key role of the individual in the development of traditional Chinese performing arts such as music and dance. These artists and their artistic works–the "faces of tradition"–come to represent and reconfigure broader fields of cultural production in China today. The contributors to this volume explore the ways in which performances and recordings, including singing competitions, textual anthologies, ethnographic videos, and CD albums, serve as discursive spaces where individuals engage with and redefine larger traditions and themselves. By focusing on the performance, scholarship, collection, and teaching of instrumental music, folksong, and classical dance from a variety of disciplines–these case studies highlight the importance of the individual in determining how traditions have been and are represented, maintained, and cultivated.

International scholars and sinologists discuss culture, economic growth, social change, political processes, and foreign influences in China since the earliest pre-dynastic period.

Old Stories Retold explores the ways modern Chinese narratives dramatize and embody the historical sense that links them to the past and to the Chinese literary tradition. Largely guided by Walter Benjamin’s discussions of history, G. Andrew Stuckey looks at the ways Chinese narrative engages a historical process that pieces together fragments of the past into new configurations to better serve present needs. By examining intertextual connections between separate texts, Stuckey seeks to discover traces of an “original,” whether it be thought of as the past, history, or tradition, when it has been rewritten in modern and contemporary Chinese fiction. Old Stories Retold shows how the articulation of the past into new historical configurations disrupts accepted understandings of the past, and as such, can be intentionally pitted against modernist historical knowledge to resist the modernist ends that this knowledge is mobilized to achieve.