The Teahouse Under Socialism

To understand a city fully, writes Di Wang, we must observe its most basic units of social life. In The Teahouse under Socialism, Wang does just that, arguing that the teahouses of Chengdu, the capital of Sichuan Province, are some of the most important public spaces—perfect sites for examining the social and economic activities of everyday Chinese. Wang looks at the transformation of these teahouses from private businesses to collective ownership and how state policy and the proprietors’ response to it changed the overall economic and social structure of the city. He uses this transformation to illuminate broader trends in China’s urban public life from 1950 through the end of the Cultural Revolution and into the post-Mao reform era. In doing so, The Teahouse under Socialism charts the fluctuations in fortune of this ancient cultural institution and analyzes how it survived, and even thrived, under bleak conditions. Throughout, Wang asks such questions as: Why and how did state power intervene in the operation of small businesses? How was "socialist entertainment" established in a local society? How did the well-known waves of political contestation and struggle in China change Chengdu’s teahouses and public life? In the end, Wang argues, the answers to such questions enhance our understanding of public life and political culture in the Communist state.

To understand a city fully, writes Di Wang, we must observe its most basic units of social life. In The Teahouse under Socialism, Wang does just that, arguing that the teahouses of Chengdu, the capital of Sichuan Province, are some of the most important public spaces?perfect sites for examining the social and economic activities of everyday Chinese. Wang looks at the transformation of these teahouses from private businesses to collective ownership and how state policy and the proprietors? response to it changed the overall economic and social structure of the city. He uses this transformation to illuminate broader trends in China?s urban public life from 1950 through the end of the Cultural Revolution and into the post-Mao reform era. In doing so, The Teahouse under Socialism charts the fluctuations in fortune of this ancient cultural institution and analyzes how it survived, and even thrived, under bleak conditions. Throughout, Wang asks such questions as: Why and how did state power intervene in the operation of small businesses? How was "socialist entertainment" established in a local society? How did the well-known waves of political contestation and struggle in China change Chengdu?s teahouses and public life? In the end, Wang argues, the answers to such questions enhance our understanding of public life and political culture in the Communist state.

This text explores urban public life through the microcosm of the Chengdu teahouse. Like most public spaces, the teahouse was and still is an enduring symbol of Chinese popular culture, stemming back centuries and prevailing through political transformations, modernization, and globalization. The time period covered begins basically with the establishment of the People's Republic in 1949-50, goes through the end of the Cultural Revolution and into the post-Mao reform era.

In 1939, residents of a rural village near Chengdu watched as Lei Mingyuan, a member of a violent secret society known as the Gowned Brothers, executed his teenage daughter. Six years later, Shen Baoyuan, a sociology student at Yenching University, arrived in the town to conduct fieldwork on the society that once held sway over local matters. She got to know Lei Mingyuan and his family, recording many rare insights about the murder and the Gowned Brothers' inner workings. Using the filicide as a starting point to examine the history, culture, and organization of the Gowned Brothers, Di Wang offers nuanced insights into the structures of local power in 1940s rural Sichuan. Moreover, he examines the influence of Western sociology and anthropology on the way intellectuals in the Republic of China perceived rural communities. By studying the complex relationship between the Gowned Brothers and the Chinese Communist Party, he offers a unique perspective on China's transition to socialism. In so doing, Wang persuasively connects a family in a rural community, with little overt influence on national destiny, to the movements and ideologies that helped shape contemporary China.

Arif Dirlik's latest offering is a revisionist perspective on Chinese radicalism in the twentieth century. He argues that the history of anarchism is indispensable to understanding crucial themes in Chinese radicalism. And anarchism is particularly significant now as a source of democratic ideals within the history of the socialist movement in China. Dirlik draws on the most recent scholarship and on materials available only in the last decade to compile the first comprehensive history of his subject available in a Western language. He emphasizes the anarchist contribution to revolutionary discourse and elucidates this theme through detailed analysis of both anarchist polemics and social practice. The changing circumstances of the Chinese revolution provide the immediate context, but throughout his writing the author views Chinese anarchism in relation to anarchism worldwide.

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.

A study of the lively street culture in Chengdu from 1870 to 1930, this book explores the relationship between urban commoners and public space, the role of community and neighborhood in public life, and how the reform movement and Republican revolution transformed everyday life in this inland city.

From the renowned Chinese poet in exile comes a gorgeous and shocking account of his years in prison following the Tiananmen Square protests.

When Mao and the Chinese Communist Party won power in 1949, they were determined to create new, revolutionary human beings. Their most precise instrument of ideological transformation was a massive program of linguistic engineering. They taught everyone a new political vocabulary, gave old words new meanings, converted traditional terms to revolutionary purposes, suppressed words that expressed "incorrect" thought, and required the whole population to recite slogans, stock phrases, and scripts that gave "correct" linguistic form to "correct" thought. They assumed that constant repetition would cause the revolutionary formulae to penetrate people's minds, engendering revolutionary beliefs and values. In an introductory chapter, Dr. Ji assesses the potential of linguistic engineering by examining research on the relationship between language and thought. In subsequent chapters, she traces the origins of linguistic engineering in China, describes its development during the early years of communist rule, then explores in detail the unprecedented manipulation of language during the Cultural Revolution of 1966–1976. Along the way, she analyzes the forms of linguistic engineering associated with land reform, class struggle, personal relationships, the Great Leap Forward, Mao-worship, Red Guard activism, revolutionary violence, Public Criticism Meetings, the model revolutionary operas, and foreign language teaching. She also reinterprets Mao’s strategy during the early stages of the Cultural Revolution, showing how he manipulated exegetical principles and contexts of judgment to "frame" his alleged opponents. The work concludes with an assessment of the successes and failures of linguistic engineering and an account of how the Chinese Communist Party relaxed its control of language after Mao's death.

This is the first book in English on Chinese animation and socialism that introduces the insider viewpoints of socialist animators at the Shanghai Animation Film Studio. A timely and useful reference book for researchers, students, animators, and fans interested in Chinese and even world animation.