Preface |
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xi | |
Illustrations and Online Resources |
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xiii | |
Introduction: Nose-Smells |
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1 | (32) |
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Popular Culture And Cultural Revolution Culture: Theory, Practice, And Experience |
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3 | (4) |
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7 | (4) |
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(Subjective) Receptions of Propaganda |
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11 | (6) |
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(Objective) Forms of Propaganda |
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17 | (10) |
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Variety and Availability: Art as Education |
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18 | (3) |
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Propaganda and Pop: Art for Entertainment |
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21 | (4) |
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Continuity and Repetition: Art in History |
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25 | (2) |
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27 | (6) |
Part I: Ears-Sounds |
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33 | (96) |
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35 | (4) |
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1 From Mozart To Mao To Mozart: Musical Revolutions In China |
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39 | (58) |
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Prelude: Chinese Music and New Chinese Music |
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39 | (2) |
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Exposition: China and Mozart |
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41 | (5) |
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46 | (4) |
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Excursion 1. Chinese Opera as a Genre of Change: A View from History |
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50 | (37) |
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"To Wield through the Old to Create the New": Musical Traditions in the Model Works |
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53 | (11) |
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"To Wield through the Foreign to Create a Chinese National Art": Approaches to Foreign Music in the Model Works |
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64 | (14) |
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Serving the People: The Politics of Model Music and Performance |
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78 | (9) |
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Excursion 2. Chinese Opera Reform: A View from History |
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87 | (10) |
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The Artistic Success of the Model Works |
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89 | (3) |
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Recapitulation: Mozart and China |
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92 | (4) |
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Coda: Foreign Music and Foreign-Style Chinese Music |
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96 | (1) |
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2 The Sounds Amidst The Fury: Cultural Revolution Songs From Xian Xinghai To Cui Jian |
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97 | (32) |
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100 | (12) |
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112 | (5) |
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Medley: Mixing Sounds from amidst the Fury |
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117 | (8) |
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125 | (4) |
Part II: Mouth-Words |
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129 | (128) |
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131 | (8) |
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3 Destroying The Old And Learning From Black Material: The Political Fate Of A Famous School Primer |
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139 | (50) |
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Old and New: The Three Character Classic before and after the Cultural Revolution |
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141 | (15) |
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Black Material: The Three Character Classic and the Cultural Revolution |
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156 | (29) |
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Rethinking Confucius before the Cultural Revolution |
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165 | (8) |
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Rethinking Confucius during the Cultural Revolution |
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173 | (12) |
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Memories: Reconfiguring Confucius after the Cultural Revolution |
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185 | (4) |
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4 The Foolish Old Man Who Moved The Mountains: Superscribing A Foundational Myth |
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189 | (68) |
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Prelude: Depicting the Power of Words |
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189 | (7) |
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196 | (3) |
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The (Hi)Story behind the Story |
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199 | (9) |
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Quoting the Story during the Cultural Revolution |
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208 | (22) |
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(Hi)Story and Quotation beyond the Cultural Revolution |
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230 | (19) |
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Coda: Rethinking the Power of Words |
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249 | (8) |
Part III Eyes-Images |
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257 | (114) |
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259 | (8) |
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5 Mao Wherever You Go: The Art Of Repetition In Revolutionary China |
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267 | (64) |
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Repeating Mao: MaoArt and Its Implied Audience |
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269 | (35) |
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270 | (10) |
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Not to Be Repeated! Part Modernisms? |
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280 | (10) |
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Not to Be Repeated! Part 2: Traditionalisms? |
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290 | (5) |
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Repetition Squared: Repeating the Repeated |
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295 | (8) |
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303 | (1) |
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Receiving Mao: The Actual Audience of MaoArt |
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304 | (20) |
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304 | (3) |
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307 | (6) |
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313 | (4) |
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317 | (7) |
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Revisiting Mao: MaoArt Then and Now |
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324 | (7) |
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6 . Chain(ed) Pictures And Chained By Pictures: Comics And Cultural Revolutions In China |
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331 | (40) |
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Heroes, Villains, and Sexuality |
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335 | (18) |
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Readers, Readings, and Popularity |
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353 | (12) |
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Monkeys, Demons, and Continuity |
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365 | (6) |
Conclusion: Hands-Touch |
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371 | (18) |
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Cultural Revolution Culture And Popular Culture: Theorizing Practice And Experience |
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373 | (16) |
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373 | (4) |
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377 | (3) |
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380 | (4) |
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Turning the Pages of History? |
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384 | |
Appendixes |
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389 | (2) |
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391 | (3) |
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3 Chronology Of The Model Works |
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394 | (1) |
Reference Matter |
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395 | (42) |
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Index Of Names, Titles, And Slogans |
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437 | (32) |
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469 | |