Staging Chinese Revolution surveys fifty years of theatrical propaganda performances in China, revealing a dynamic, commercial capacity in works often dismissed as artifacts of censorship. Spanning the 1960s through the 2010s, Xiaomei Chen reads films, plays, operas, and television shows from an interdisciplinary and comparative perspective, demonstrating how, in a socialist state with "capitalist characteristics," propaganda performance turns biographies, memoirs, and war stories into mainstream ideological commodities, legitimizing the state and its right to rule. Analyzing propaganda performance also brings contradictions and inconsistencies to light that throw common understandings about propaganda's purpose into question. Chen focuses on revisionist histories that stage the lives of the "founding fathers" of the Communist Party, such as Chen Duxiu, Mao Zedong, and Deng Xiaoping, and the engaging mix of elite and ordinary characters that animate official propaganda in the private and public sphere. Taking the form of "personal" memories and representing star and youth culture and cyberspace, contemporary Chinese propaganda appeals through multiple perspectives, complicating relations among self, subject, agent, state building, and national identity. Chen treats Chinese performance as an extended form of political theater confronting critical issues of commemoration, nostalgia, state rituals, and contested history. It is through these reenactments that three generations of revolutionary leaders loom in extraordinary ways over Chinese politics and culture.
This revised and expanded edition of the first comprehensive study of Occidentalism in post-Mao China includes a new preface, foreword, and chapter on Chinese diaspora writings in the Chinese language. Xiaomei Chen offers an insightful account of the unremittingly favorable depiction of Western culture and its negative characterization of Chinese culture in post-Mao China since 1978. She examines the cultural and political interrelationship between the East and West from a vantage point more complex than that accommodated by most current theories of Western imperialism and colonialism. Going beyond Edward Said's construction in Orientalism of cross-cultural appropriations as a defining facet of Western imperialism, Chen argues that the appropriation of Western discourse--what she calls "Occidentalism"--can actually have a politically and ideologically liberating effect on contemporary non-Western culture. She maintains that simplistic allegations of Orientalism frequently found in current critical discourses seriously underestimate the complexities of intercultural and multicultural relationships. Using China as the focus of her analysis, Chen examines a variety of cultural media, from Shakespearean drama, to modernist poetry, to contemporary Chinese television and popular fiction. She thus places sinology in the general context of Western theoretical discourses, such as Eurocentrism, postcolonialism, nationalism, modernism, feminism, and literary hermeneutics, showing that it has a vital role to play in the study of Orient and Occident and their now unavoidable symbiotic relationship. Occidentalism presents a new model of comparative literary and cultural studies that reenvisions cross-cultural appropriation. It will be indispensable to future discussions of Orientalism, Occidentalism, and postcolonialism, as well as subaltern studies, Asian studies, comparative literature, cultural studies, and non-Western drama.
This condensed anthology reproduces close to a dozen plays from Xiaomei Chen's well-received original collection, The Columbia Anthology of Modern Chinese Drama, along with her critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama. Comprising representative works from the Republican era to postsocialist China, the book encapsulates the revolutionary rethinking of Chinese theater and performance that began in the late Qing dynasty and vividly portrays the uncertainty and anxiety brought on by modernism, socialism, political conflict, and war. Chosen works from 1919 to 1990 also highlight the formation of national and gender identities during a period of tremendous social, cultural, and political change in China and the genesis of contemporary attitudes toward the West. PRC theater tracks the rise of communism, juxtaposing ideals of Chinese socialism against the sacrifices made for a new society. Post-Mao drama addresses the nation's socialist legacy, its attempt to reexamine its cultural roots, and postsocialist reflections on critical issues such as nation, class, gender, and collective memories. An essential, portable guide for easy reference and classroom use, this abridgment provides a concise yet well-rounded survey of China's theatricality and representation of political life. The original work not only established a canon of modern Chinese drama in the West but also made it available for the first time in English in a single volume.
Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.
Performing the Socialist State offers an innovative account of the origins, evolution, and legacies of key trends in twentieth-century Chinese theater. Instead of seeing the Republican, high socialist, and postsocialist periods as radically distinct, it identifies key continuities in theatrical practices and shared aspirations for the social role and artistic achievements of performance across eras. Xiaomei Chen focuses on the long and remarkable careers of three founders of modern Chinese theater and film, Tian Han, Hong Shen, and Ouyang Yuqian, and their legacy, which helped shape theater cultures into the twenty-first century. They introduced Western plays and theories, adapted traditional Chinese operas, and helped develop a tradition of leftist theater in the Republican period that paved the way for the construction of a socialist canon after 1949. Chen investigates how their visions for a free, democratic China fared in the initial years after the founding of the People’s Republic, briefly thriving only to founder as artists had to adapt to the Communist Party’s demand to produce ideologically correct works. Bridging the faith play and “antiparty plays” of the 1950s, the “red classics” of the 1960s, and their reincarnations in the postsocialist period, she considers the transformations of the depictions of women, peasants, soldiers, scientists, and revolutionary history in plays, operas, and films and examines how the market economy, collective memories, star culture, social networks, and state sponsorship affected dramatic productions. Countering the view that state interference stifles artistic imagination, Chen argues that theater professionals have skillfully navigated shifting ruling ideologies to create works that are politically acceptable yet aesthetically ingenious. Emphasizing the power, dynamics, and complexities of Chinese performance cultures, Performing the Socialist State has implications spanning global theater, comparative literature, political and social histories, and Chinese cultural studies.
Inspired by the community behaviors of animals and humans, cooperative control has been intensively studied by numerous researchers in recent years. Cooperative control aims to build a network system collectively driven by a global objective function in a distributed or centralized communication network and shows great application potential in a wide domain. From the perspective of cybernetics in network system cooperation, one of the main tasks is to design the formation control scheme for multiple intelligent unmanned systems, facilitating the achievements of hazardous missions – e.g., deep space exploration, cooperative military operation, and collaborative transportation. Various challenges in such real-world applications are driving the proposal of advanced formation control design, which is to be addressed to bring academic achievements into real industrial scenarios. This book extends the performance of formation control beyond classical dynamic or stationary geometric configurations, focusing on formation maneuverability that enables cooperative systems to keep suitable spacial configurations during agile maneuvers. This book embarks on an adventurous journey of maneuverable formation control in constrained space with limited resources, to accomplish the exploration of an unknown environment. The investigation of the real-world challenges, including model uncertainties, measurement inaccuracy, input saturation, output constraints, and spatial collision avoidance, brings the value of this book into the practical industry, rather than being limited to academics.
Chu Yang liked Wei Qing for a long time. Wei Qing, on the other hand, didn't like the first rays of the sun. Honestly speaking, he didn't like anyone, only himself. But being forced by his father, he had no choice but to marry Chu Yang. After Wei Qing and Chu Yang's interview, he found out that the other party was very suitable in every aspect. He decisively signed a contract with Chu Yang to let him be the fake marriage partner. The first rays of the sun 'married' to Wei Qing as he wished. Initially, he thought that life after marriage would be as cold as ice. Unexpectedly, life after marriage would be as sweet as honey. Couples sow dog food together.
This volume focuses on predicting users’ attendance at a future event at specific time and location based on their common interests. Event attendance prediction has attracted considerable attention because of its wide range of potential applications. By predicting event attendance, events that better fit users’ interests can be recommended, and personalized location-based or topic-based services related to the events can be provided to users. Moreover, it can help event organizers estimating the event scale, identifying conflicts, and help manage resources. This book first surveys existing techniques on event attendance prediction and other related topics in event-based social networks. It then introduces a context-aware data mining approach to predict the event attendance by learning how users are likely to attend future events. Specifically, three sets of context-aware attributes are identified by analyzing users’ past activities, including semantic, temporal, and spatial attributes. This book illustrates how these attributes can be applied for event attendance prediction by incorporating them into supervised learning models, and demonstrates their effectiveness through a real-world dataset collected from event-based social networks.
Sea level rise and coastal erosion had drawn an increasing awareness recently as the repercussion of increase of sea level and coastal erosion would reshape the earth's system and induce a tremendous loss in ecological or economics cost. Governments are dedicated to meliorate the occurrence of these phenomena, or else all creations on the earth will suffer from the catastrophe. Global warming is one of the crucial factors resulting in the increase of sea level and coastal erosion. Remote sensing and geographic information systems (GIS) technologies are thoroughly adopted and applied to monitor the dynamic change of the nature system, such as coastal land use and land cover, sea level rise, and coastal infrastructure.
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