By now the world is familiar with the disastrous consequences of the ten year period (1966-1976) in China's history known as the Great Proletarian Cultural Revolution. The mistakes of Mao Zedong's later years have been officially acknowledged, and the infamous Gang of Four publicly tried and sentence for their crimes. But on the cultural front the thaw had no sooner come than gone. A campaign against what is regarded as "spiritual pollution" is being waged to inhibit free expression among creative writers. Thousands of scholars, authors, respected professors and academicians, who as a class were the most persecuted in what some observers called China's "holocaust," are back at their respective stations, bent over the task of modernization. For understandable reasons, few have written candidly about their experiences during the Cultural Revolution. Yang Jiang is an outstanding exception. In this memoir she give a poignant account of the more than two years she and her husband were sent "downunder" to the barren countryside for reeducation through labor. Yang Jiang touches upon any horrendous acts only in passing, or by indirection; mainly she relates in well-tempered tones the everyday incidents at their "cadre school" which add up to a harrowing tale. Patterned after Shen Fu's "Six Chapters of a Floating Life," a minor classic of the Qing dynasty,Six Chapters form My Life 'Downunder'is a testimony of remarkable sophistication, and at the same time a powerful indictment of the madness of ignorant, totalitarian rule.. The author writes in a subtle, almost allegorical style, letting the reader share in her skepticism, disappointment, and frustration with the people, or the system, responsible for what was done to her family and her fellow victims. More in sorrow than in anger, here and there with a touch of wry humor, she records the backwardness and distrust of the peasants who were their "masters"; the utter waste of human resources; the vicious nature of political campaigns and the people involved in them; and, above all, the devotion between husband and wife which kept them going throughout their ordeal. While describing a society in one of its darkest moments, Yang Jiang reaffirms the endurance of humanity. Although Yang Jiang lives in Beijing,Six Chapters from My Life 'Downunder'first appeared in a Hong Kong magazine in April 1981, and was published in book form there in the following month, attracting wide attention. it was published in the People's Republic of China later that year. The edition sold out quickly and no subsequent printings have been available. The present English translation, first published in the journal "Renditions," is issued here in slightly revised form and with the addition of footnotes and background notes.

Humanities China emerged in the spring of 2023. Spring is the time of renewal. It is a mustard seed, heralding the news of spring; it is a ray of sunlight, shining at the tunnel's end; it is the grand sound of a bell at the end of an age, playing the divine music of heaven; it is the hope we hold, singing the universal melody of the future. Humanities China is ready to make its mark. If you can sing loudly, the world will hear. For the Inaugural Issue of Humanities China (English Version): ART REFLECTIONS: Ah Cheng's Memory and Expression of the Times / The Utilization of Chinese Narrative Systems in "Soulstealers" / Representation: Box, Grid, and Frame ECHOES OF TIME: The Bitter Reality Behind Beijing's Aid to Vietnam / The Cultural Cold War: The Hidden Currents of Drama in the Age of Censorship IN REMEMBRANCE: Return, Hu Bugui? / Time of Light and Shadow: Gao Yaojie in a New York Hospital / In Memoriam of Gao Yaojie VERSECRAFT: To the Unsorrowed Winter / Following Rilke: From Duino to Muzot MUSING MINDS: The “Xiang Thinking” of Steve Jobs and Elon Musk / Rebuilding the Foundations of Thought

Writings by Wu Jinglian map not only China's path to economic reform but also the intellectual evolution of China's most influential economist. For more than thirty years, Wu Jinglian has been widely regarded as China's most celebrated and influential economist. In the late 1970s, Wu (b. 1930) was one of a small group of economic thinkers who broke with Marxist concepts and learned the principles of a market economy. Since then he has been at the center of economic reform in China, moving seamlessly as an “insider outsider” between academic and policy roles. In recent years, Wu has emerged as a prominent public intellectual fighting not just for market reform but also for a democratic society backed by the rule of law. This book presents many of Wu's most important writings, a number of them appearing in English for the first time. Each section offers an informative introductory essay by Barry Naughton, the volume's editor and an expert on China's economy. The book begins with Wu's most recent articles, which make clear his belief that gradual marketization combined with institutional development will make Chinese society fairer and less corrupt. Biographical writings follow, accompanied by a richly insightful text by Naughton on Wu's life and career. Writings from the 1980s and 1990s, written originally for a small audience of policy makers, demonstrate how Wu shaped China's early reform path; essays and articles from the late 1990s and early 2000s reflect Wu's new role as an advocate for broader reforms. Taken together, these texts map not only China's path to economic reform but also Wu's own intellectual evolution.

A Stanford University Press classic.

The Chinese Cultural Revolution is the single most important internal social event in contemporary Chinese history. The plethora of history, literary, and artistic representations inspired by this event are critical to our understanding of the diversified, often contested, interpretations of contemporary China. Li Li’s critical examination of autobiographic, filmic and fictional presentations in Memory, Fluid Identity, and the Politics of Remembering: The Representations of the Chinese Cultural Revolution in English-speaking Countries demonstrates that “memory works” not only reflect memories of those who lived through that period, but memories about their past, and, more importantly, about their identity remapping and artistic negotiation in a cross-cultural environment.