At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
A comprehensive study of contemporary memories of China's revolutionary epoch, from the time of Japanese imperialism through the Cultural Revolution. This volume examines the memories of a range of social groups, including disenfranchised workers and rural women, who have often been neglected in scholarship.
In Republicanism, Communism, Islam, John T. Sidel provides an alternate vantage point for understanding the variegated forms and trajectories of revolution across the Philippines, Indonesia, and Vietnam, a perspective that is de-nationalized, internationalized, and transnationalized. Sidel positions this new vantage point against the conventional framing of revolutions in modern Southeast Asian history in terms of a nationalist template, on the one hand, and distinctive local cultures and forms of consciousness, on the other. Sidel's comparative analysis shows how—in very different, decisive, and often surprising ways—the Philippine, Indonesian, and Vietnamese revolutions were informed, enabled, and impelled by diverse cosmopolitan connections and international conjunctures. Sidel addresses the role of Freemasonry in the making of the Philippine revolution, the importance of Communism and Islam in Indonesia's Revolusi, and the influence that shifting political currents in China and anticolonial movements in Africa had on Vietnamese revolutionaries. Through this assessment, Republicanism, Communism, and Islam tracks how these forces, rather than nationalism per se, shaped the forms of these revolutions, the ways in which they unfolded, and the legacies which they left in their wakes.
Since it was first published more than forty years ago, Sources of Japanese Tradition, Volume 2, has been considered the authoritative sourcebook for readers and scholars interested in Japan from the eighteenth century to the post-World War II period. Now greatly expanded to include the entire twentieth century, and beginning in 1600, Sources of Japanese Tradition presents writings by modern Japan's most important philosophers, religious figures, writers and political leaders. The volume also offers extensive introductory essays and commentary to assist in understanding the documents' historical settings and significance. Wonderfully varied in its selections, this eagerly anticipated expanded edition has revised many of the texts from the original edition and added a great many not included or translated before. New additions include documents on the postwar era, the importance of education in the process of modernization, and women's issues. Beginning with documents from the founding of the Tokugawa shogunate, the collection's essays, manifestos, religious tracts, political documents, and memoirs reflect major Japanese religious, philosophical, social and political movements. Subjects covered include the spread of neo-Confucian and Buddhist teachings, Japanese poetry and aesthetics, and the Meiji Restoration. Other documents reflect the major political trends and events of the period: the abolition of feudalism, agrarian reform, the emergence of poltical parties and liberalism, and the Sino-Japanese and Russo-Japanese Wars. The collection also includes Western and Japanese impressions of each other through Western religious missions and commercial and cultural exchanges. These selections underscore Japanese and Western apprehension of and fascination with each other. As Japan entered the twentieth century, new political and social movements -- Marxism, anarchism, socialism, nationalism, and feminism -- entered the national consciousness. Later readings in the collection look at the buildup to war with the United States, military defeat and American occupation. Documents from the postwar period echo Japan's struggle with its own history and its development as a capitalist democracy.
In The Chinese Revolution on the Tibetan Frontier, Benno Weiner provides the first in-depth study of an ethnic minority region during the first decade of the People's Republic of China: the Amdo region in the Sino-Tibetan borderland. Employing previously inaccessible local archives as well as other rare primary sources, he demonstrates that the Communist Party's goal in 1950s Amdo was not just state-building but also nation-building. Such an objective required the construction of narratives and policies capable of convincing Tibetans of their membership in a wider political community. As Weiner shows, however, early efforts to gradually and organically transform a vast multiethnic empire into a singular nation-state lost out to a revolutionary impatience, demanding more immediate paths to national integration and socialist transformation. This led in 1958 to communization, then to large-scale rebellion and its brutal pacification. Rather than joining voluntarily, Amdo was integrated through the widespread, often indiscriminate use of violence, a violence that lingers in the living memory of Amdo Tibetans and others.
This book examines the Third Chinese Revolutionary Civil War of 1945–1949, which resulted in the victory of the Chinese Communist Party (CCP) over Chiang Kaishek and the Guomindang (GMD) and the founding of The People’s Republic of China in 1949. It provides a military and strategic history of how the CCP waged and ultimately won the war, the transformation its armed forces and how the Communist leadership interacted with each other. Whereas most explanations of the CCP’s eventual victory focus on the Sino-Japanese War of 1937–45, when the revolution was supposedly won as a result of the communists’ invention of "peasant nationalism", this book shows that the outcome of the revolution was not a foregone conclusion in 1945. It explains how the eventual victory of the communists resulted from important strategic decisions taken on both sides, in particular the remarkable transformation of the communist army from an insurgent / guerrilla force into a conventional army. The book also explores how the hierarchy of The People’s Republic of China developed during the war. It shows how Mao’s power was based as much on his military acumen as his political thought, above all his role in formulating and implementing a successful military strategy in the war of 1945–49. It also describes how other important figures, such as Lin Biao, Deng Xiaoping, Nie Rongzhen, Liu Shaoqi and Chen Yi, made their reputations during the conflict; and reveals the inner workings of the first political-military elite of the PRC. Overall, this book is an important resource for anyone seeking to understand the origins and early history of The People’s Republic of China, the Chinese Communist Party and the People’s Liberation Army.
Engaging with fiction films devoted to heroic tales from the decade and a half between 1949 and 1966, this book reconceives state propaganda as aesthetic experiments that not only radically transformed acting, cinematography and screenwriting in socialist China, but also articulated a new socialist film theory and criticism. Rooted in the interwar avant-garde and commercial cinema, Chinese revolutionary cinema, as a state cinema for the newly established People's Republic, adapted Chinese literature for the screen, incorporated Hollywood narration, appropriated Soviet montage theory and orchestrated a new, glamorous, socialist star culture. In the wake of decolonisation, Chinese film journals were quick to project and disseminate the country's redefined self-image to Asia, Africa and Latin America as they helped to create an alternative vision of modernity and internationalism. Revealing the historical contingency of the term 'propaganda', Chan uncovers the visual, aural, kinaesthetic, sexual and ideological dynamics that gave rise to a new aesthetic of revolutionary heroism in world cinema. Based on extensive archival research, this book's focus on the distinctive rhetoric of post-war socialist China will be of value to East Asian Cinema scholars, Chinese Studies academics and those interested in the history of twentieth-century socialist culture.
