Download Maoist Model Theatre: The Semiotics of Gender and Sexuality by Rosemary Roberts PDF

By Rosemary Roberts

ISBN-10: 9004177442

ISBN-13: 9789004177444

Here's a convincing mirrored image that adjustments our figuring out of gender in Maoist tradition, esp. for what critics from the Nineties onwards have termed its ‘erasure’ of gender and sexuality. particularly the powerful heroines of the yangbanxi, or ‘model works’ which ruled the Cultural Revolution interval, were noticeable as genderless revolutionaries whose photos have been harmful to ladies. Drawing on modern theories starting from literary and cultural stories to sociology, this publication demanding situations that validated view via exact semiotic research of theatrical structures of the yangbanxi together with dress, props, kinesics, and diverse audio and linguistic structures. Acknowledging the advanced interaction of conventional, sleek, chinese language and overseas gender ideologies as show up within the 'model works', it essentially adjustments our insights into gender in Maoist tradition.

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Extra info for Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976)

Example text

F]emale images in socialist literature functioned as a special agent of the state’s appropriation of the ‘public’ (Meng: p. 118). First of all, Meng seems to claim that authentic political identity is primarily associated with women in socialist fiction. 62 Men are therefore no less representative of an authentic political identity than women. Meng avoids this problem by focussing on works that support her claim—such as Azalea Mountain, Song of the 60 Yang, “From Gender Erasure to Gender Difference: State Feminism, Consumer Sexuality, and Women’s Public Sphere in China,” p.

A Chinese version of the last work can be found in Wenxue yundong shiliao xuan, Shanghai: Shanghai jiaoyu chubanshe, 1979, Vol. 5, p. 3. 19 Jiang Qing, “Summary of the Forum on the Work on Literature and Art in the Armed Forces with Which Comrade Lin Piao Entrusted Comrade Chiang Ching,” p. 8. , p. 11. introduction: gender and the model works 9 purpose. e. 23 Class enemies could not be portrayed with any sympathy or glamorised. ”24 The requirements for literature and art of the time were also mapped negatively through criticism of works deemed ideologically unsound.

19. 24 Ibid. 25 About 20% of a list of 400 films designated as poisonous weeds were criticised for their depiction of love or issues of sex and sexuality. shtml. Accessed Nov. 22, 2007. Item 96 on this list for example, the film Shuishang chunqiu (Annals of the Aquatics) is criticised for its display of beautiful women and thighs. 26 The earliest models post-1949 were women who had served courageously in the communist forces during the civil war. As the 50s progressed the military women were replaced by peasant or worker heroines, such as rural women who saved crops from floods before saving their homes and women tractor drivers or drilling teams on 22 10 chapter one famous ‘little red book’ of quotes from Mao paid tribute to this new woman who had swapped her make up and finery for metaphorical battle dress: Dawn light illuminates the parade grounds And these handsome girls with rifles five feet long, Heroic in the wind.

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