Educated Youth. The Lost Generation. They served Mao’s Cultural Revolution as Red Guards in the late 1960s, only to be sacrificed to that same revolution a decade later when they were rusticated to desolate communes and the wastelands of northern China. When they were allowed to return to the cities, they found themselves dislocated once again, this time by the social and economic upheavals of the post-Mao era. A former Red Guard and one of China’s most accomplished satirists, Liang Xiaosheng follows his compatriots as they make their way through the morass of petty corruption, bureaucratic back-biting, and opportunism that is the new New China. In a tone deceptively light and humorous, Liang expresses the financial and sexual frustration, pathetic mediocrity, and impotent resentment of aging “educated youth” trapped in a public sector rendered increasingly superfluous by the brash econonic dynamism of China’s new entrepreneurial class. Mordant and absurdist touches abound in Panic, a hilarious, often heartrending comedy of manners from China’s Roaring Nineties. Liang depicts modern, dysfunctional man as being hopelessly badgered by hypercapitalist performance ratings while Marx and Lenin look on. Deaf, likewise, is high comedy, spinning multiple allegories of truth, faith, and the human condition. Fluently and gracefully translated, these two stories capture the spiritual chaos of today’s China, a place as far removed from the exotic Qing Dynasty court as it is from the political and social turmoil of the Cultural Revolution.
Li Yihong is a political committee member who recognizes that his job is to pay lip-service to justice and that justice plays no part in his current position. With no thought to personal gain or himself, he decides that he is duty bound to return justice to the people and fight for what's right.
Educated Youth. The Lost Generation. They served Mao’s Cultural Revolution as Red Guards in the late 1960s, only to be sacrificed to that same revolution a decade later when they were rusticated to desolate communes and the wastelands of northern China. When they were allowed to return to the cities, they found themselves dislocated once again, this time by the social and economic upheavals of the post-Mao era. A former Red Guard and one of China’s most accomplished satirists, Liang Xiaosheng follows his compatriots as they make their way through the morass of petty corruption, bureaucratic back-biting, and opportunism that is the new New China. In a tone deceptively light and humorous, Liang expresses the financial and sexual frustration, pathetic mediocrity, and impotent resentment of aging “educated youth” trapped in a public sector rendered increasingly superfluous by the brash econonic dynamism of China’s new entrepreneurial class. Mordant and absurdist touches abound in Panic, a hilarious, often heartrending comedy of manners from China’s Roaring Nineties. Liang depicts modern, dysfunctional man as being hopelessly badgered by hypercapitalist performance ratings while Marx and Lenin look on. Deaf, likewise, is high comedy, spinning multiple allegories of truth, faith, and the human condition. Fluently and gracefully translated, these two stories capture the spiritual chaos of today’s China, a place as far removed from the exotic Qing Dynasty court as it is from the political and social turmoil of the Cultural Revolution.
The Avant-Garde and the Popular in Modern China explores how an important group of Chinese performing artists invested in politics and the pursuit of the avant-garde came to terms with different ways of being “popular” in modern times. In particular, playwright and activist Tian Han (1898-1968) exemplified the instability of conventional delineations between the avant-garde, popular culture, and political propaganda. Liang Luo traces Tian’s trajectory through key moments in the evolution of twentieth-century Chinese national culture, from the Christian socialist cosmopolitanism of post–WWI Tokyo to the urban modernism of Shanghai in 1920s and 30s, then into the Chinese hinterland during the late 1930s and 40s, and finally to the Communist Beijing of the 1950s, revealing the dynamic interplay of art and politics throughout this period. Understanding Tian in his time sheds light upon a new generation of contemporary Chinese avant-gardists (Ai Wei Wei being the best known), who, half a century later, are similarly engaging national politics and popular culture.
Zhongli Li, you're mine." "Even Ouyang Xuan's confession was so domineering." Ah, don't tease me. "Zhong Li sneered, his gaze falling on his protruding abdomen." There is a small life here, and it belongs to another man. He knew his ex-husband, who had been in love for five years, could betray him, let alone this foppish young master in the eyes of everyone in Xi City. How could Zhong Li believe him? How could he dare to believe it!
This book argues that modernity first arrived in late nineteenth-century Shanghai via a new spatial configuration. This city’s colonial capitalist development ruptured the traditional configuration of self-contained households, towns, and natural landscapes in a continuous spread, producing a new set of fragmented as well as fluid spaces. In this process, Chinese sojourners actively appropriated new concepts and technology rather than passively responding to Western influences. Liang maps the spatial and material existence of these transient people and reconstructs a cultural geography that spreads from the interior to the neighbourhood and public spaces. In this book the author: discusses the courtesan house as a surrogate home and analyzes its business, gender, and material configurations; examines a new type of residential neighbourhood and shows how its innovative spatial arrangements transformed the traditional social order and hierarchy; surveys a range of public spaces and highlights the mythic perceptions of industrial marvels, the adaptations of colonial spatial types, the emergence of an urban public, and the spatial fluidity between elites and masses. Through reading contemporaneous literary and visual sources, the book charts a hybrid modern development that stands in contrast to the positivist conception of modern progress. As such it will be a provocative read for scholars of Chinese cultural and architectural history.
A Sword of Dao Seeking swept across the entire place. With a flip of his hand, he turned it into the sky and covered it with his hand. The Heart of Dao could hold the nine heavens and ten earth. With a single thought, life and death would be snatched away. Lust! Desire to defy the heavens! Anger to break through the heavens! The Lover of Love, the Lord of the Heavens and the Earth, oppressing all Golden Immortals!
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