Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: there are affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them.
Denationalizing Identities explores the relationship between performance and ideology in the global Sinosphere. Wah Guan Lim's study of four important diasporic director-playwrights—Gao Xingjian, Stan Lai Sheng-chuan, Danny Yung Ning Tsun, and Kuo Pao Kun—shows the impact of theater on ideas of "Chineseness" across China, Taiwan, Hong Kong, and Singapore. At the height of the Cold War, the "Bamboo Curtain" divided the "two Chinas" across the Taiwan Strait. Meanwhile, Hong Kong prepared for its handover to the People's Republic of China and Singapore rethought Chinese education. As geopolitical tensions imposed ethno-nationalist identities across the region, these four dramatists wove together local, foreign, and Chinese elements in their art, challenging mainland China's narrative of an inevitable communist outcome. By performing cultural identities alternative to the ones sanctioned by their own states, they debunked notions of a unified Chineseness. Denationalizing Identities highlights the key role theater and performance played in circulating people and ideas across the Chinese-speaking world, well before cross-strait relations began to thaw.
In an attempt to reconstruct an elusive aspect of the medieval Chinese imagination, The Eminent Monk examines biographies of Chinese Buddhist monks, from the uncompromising ascetic to the unfathomable wonder-worker. While analyzing images of the monk in medieval China, the author addresses some questions encountered along the way: What are we to make of accounts in “eminent monk” collections of deviant monks who violate monastic precepts? Who wrote biographies of monks and who read them? How did different segments of Chinese society contend for the image of the monk and which image prevailed? By placing biographies of monks in the context of Chinese political and religious rhetoric, The Eminent Monk explores both the role of Buddhist literature in Chinese history and the monastic imagination that inspired this literature.
“Courageous … One Man’s Bible is driven by the sweeping panorama of history and the suffering and reconciliation that underlie it.”— Washington Post Book World Published to impressive critical acclaim, One Man's Bible enhances the reputation of Nobel Prize-winning Gao Xingjian, whose first novel, Soul Mountain, was a national bestseller. One Man’s Bible is a fictionalized account of Gao Xingjian’s life under the oppressive totalitarian regime of Mao Tse-tung during the period of the Cultural Revolution and its aftermath. Whether in the “beehive” offices in Beijing or in isolated rural towns, daily life everywhere is riddled with paranoia and fear, as revolutionaries, counter-revolutionaries, and government propaganda turn citizens against one another. It is a place where a single sentence spoken ten years earlier can make one an enemy of the state. Gao evokes the spiritual torture of political and intellectual repression in graphic detail, including the heartbreaking betrayals he suffers in his relationships with women and men alike. One Man’s Bible is a profound meditation on the essence of writing, on exile, on the effects of political oppression on the human spirit, and how the human spirit can triumph.
"Mapping Meanings," a broad-ranged introduction to China's intellectual entry into the family of nations, guides the reader into the late Qing encounter with Western, at the same time connecting convincingly to the broader question of the mobility of knowledge.
"Marytanov explains why and how the US armed forces have lost the military supremacy they thought they once had and how Russia, which supposedly had been defeated in the Cold War, succeeded not only in catching up with USA, but actually surpassing it in many key domains such as long range cruise missiles, diesel-electric submarines, air defenses, electronic warfare, air superiority and many others. Andrei Martyanov's book is an absolute 'must read' for any person wanting to understand the reality of modern warfare and super-power competition." THE SAKER While exceptionalism is not unique to America, the intensity of their conviction and its global ramifications are. This view of its exceptionalism has led the US to grossly misinterpret—sometimes deliberately—the causative factors of key events of the past two centuries. Accordingly, the wrong conclusions have been derived, and very wrong lessons learned. Nowhere has this been more manifest than in American military thought and its actual application of military power. Time after time the American military has failed to match lofty declarations about its superiority, producing instead a mediocre record of military accomplishments. Starting from the Korean War the United States hasn’t won a single war against a technologically inferior, but mentally tough enemy. The technological dimension of American “strategy” has completely overshadowed any concern with the social, cultural, operational and even tactical requirements of military (and political) conflict. With a new Cold War with Russia emerging, the United States enters a new period of geopolitical turbulence completely unprepared in any meaningful way—intellectually, economically, militarily or culturally—to face a reality which was hidden for the last 70+ years behind the curtain of never-ending Chalabi moments and a strategic delusion concerning Russia, whose history the US viewed through a Solzhenitsified caricature kept alive by a powerful neocon lobby, which even today dominates US policy makers’ minds. Martyanov’s former Soviet military background enables deep insight into the fundamental issues of warfare and military power as a function of national power—assessed correctly, not through the lens of Wall Street “economic” indices and a FIRE economy, but through the numbers of enclosed technological cycles and culture, much of which has been shaped in Russia by continental warfare and which is practically absent in the US.
Of Mountains and Seas is a fictional play that weaves together legendary characters from the classic Chinese text, Shanhaijing. The well-known mythical characters are presented as ordinary individuals who, despite their divine powers, struggle with the misadventures and emotional consequences of life. The gods appear innocent and childish, comically mixing up traditional social roles and behavior. Gao Xingjian infuses his play with his trademark unconventionality and esthetic flair, indulging in a considerable amount of inventive and open staging that allows directors to add their own creative stamp. The spectacular, eccentric characters make this play a colorful dramatic experience.
