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Table of Content

    15 September 2010, Volume 17 Issue 05
    Articles
    Use New Ideas to Promote the Cultural
    Development of Contemporary China
    HU Meng
    2010, 17(05):  5-15. 
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    The Chinese culture is now given a new consideration in such dimensions as national revival, state dignity, historical heritage and human brightness. At the present, there are following problems for China' s cultural development: lacking of understanding of the cultural role in the development of contemporary China; being unclear for the concept of the development of the mainstream culture; giving an emphasis on economic interests and a neglect for social benefits in such a way that the sustainable development of culture is affected; lacking of effective measures to support the development of folk culture,and thus producing its survival crisis. Nowadays, some developed countries have created a number of experiences in cultural development we can learn from: attach great importance to the cultural role in the development of social economy; shape the core values of national identity so as to form the dominant concept of cultural development; strengthen, by way of multidimensional art, the mainstream values so as to create a relatively free, relaxed environment for stimulating the creativity of cultural producers. In view of the above, China faces severe challenges in cultural development: being uncoordinated between socioeconomic development and cultural development; being incongruous between the higher cultural needs of the public and the diversity and richness of cultural development; being contradictory between ideology and consumerism; being unmatched between the historical requirement of highend cultural market and its policies; being discordant between the international trend of cultural development and the promotion of national cultural tradition; being inconsistent between the open requirement of cultural development and the security of national culture. Therefore, it is necessary for China to improve such aspects as cognition adjustment, ideology guidance, policy research, and cultural concept, and, based on these, give a reconsideration of cultural statues and role. That is: the equal importance of culture in national development; the guarantee of the harmonious development of society; the tie between the national solidarity and national unity; the engine of enhancing the national strength and competition; the source of international exchanges and human common values; the lubricant of the relationship between man and nature. In this way, the goals of cultural development can be further determined: ascertain the bedrock status of culture in social development; build a bigger platform for the development of cultural keynote; protect the nonprofit heritage of national culture; enhance the position of traditional culture; establish policies so that the conditions of folk cultural activities and cultural undertakings are created; plan the new measures of the development of cultural industries.
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    Breaking with Old Ideas: An Untrue "Political New Year' s
    Film" at the Later Period of the Cultural Revolution
    BO Tian-Jiang
    2010, 17(05):  43-53. 
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    Since the inception of the New China, the Chinese film has experienced numerous ups and downs. And the 60year historical picture of the Chinese film condenses a history of culture, thinking and struggle. Among the many controversial films, Breaking with Old Ideas, as the "political New Year' s film" of 1976 (Starting showing nationwide in January 1st), is an unforgettable film worthy of particular concern. In the book of Film History: an Introduction, Kristin Thompson and David Bordwell, two American film historians with the Cold War mentality, use a whole page to introduce this film, considering it "a drama about an agricultural college, illustrates how schematically Mao' s ideas were treated." Strange to say, 30 years later, from time to time, some people utilize the film' s educational thinking and political ideas to criticize the current educational chaos, which indicates that China' s education has almost gone into a dead end. While some propose the modern university' s "big buildings, great masters, and best environments", others use the film' s lines to yearn towards old idealism. For example, "Judging the quality of a school, we must see whether or not this school trains good students instead of seeing whether or not it has big buildings or firstlate professors." Moreover, many people give a positive judgment because the criticized phenomena in the film such as "peasants and workers can not afford university", "one cannot apply one' s education" and "the values of students collapse", seem to become living examples in the current time. Therefore, the author of this essay, who experiences the Communist Labor University of Jiangxi Province and witnesses the 30 years of education reform and film development, have a unique feeling for the film.
     

    Animated Films: Narrative and Ideology
    CHEN Xiao-Yun
    2010, 17(05):  54-60. 
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    Either for animated films or for usual story films or documentary films, narrative is one of the basic, kernel topics. The development of narrative arts and techniques, often from an important aspect, reflects the course of film development. As far as China' s film is concerned, the issues of both narrative and ideology that is embodied as a cultural soft power, are worthy of discussing from these two levels of creation and research. But for the animated film, the nature of artistic creation is imagination, and is the narrative ability reflected in imagination by way of images, and essential innocence and child' s interest. The imaginativeness of animated films is closer to children' s nonlogical, nonconventional, nonlinear thinking, or, in other words, antiadult logical thinking. This way of thinking, to some extent, determines the external forms and narrative features of the animated film. In ideological demands, the animated film is clear to focus on the cultural connotation of common humanity, because children are main audience of the animated film, characteristic of less difference and more universality if compared with adults. The animated film needs more "edutainment" than the story film that takes the adults as the main audience, and, therefore, more effective expression of ideology through video and narrative images instead of simple moralizing. While it is not difficult to establish a view of value that can be recognized, it is also not easy to improve and strengthen the effectiveness of this view of value. If the desire to instruct is too strong and the mode of narrative is too straight to the theme, things will ultimately go to their opposites. This is just a big problem, which not only trouble the domestic animated film but also torment the whole Chinese film industry.

    The Orientalist Discourse in Oversea Research for China' s Film
    ——Taking as the Study Case the Oversea Scholars'
    Documental Analysis in Research for Xie Jin' s Films
    YANG Dun-Lei
    2010, 17(05):  61-69. 
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     For a long period of time, there is a certain degree of habitual thinking of Orientalism in oversea scholars' research for China's film. As the first step to understand this issue, the cognitive bias in oversea films about China's or the Chinese images can be referred to. For example, in the documental usage of oversea scholars, some essays and monographs about Xie Jin's films often appear fragment citations, shielded allusion and unidirectional intertext choice, the common roots of which can be given an analysis by virtue of Edward Said's theory of Orientalism.

    ShanghaiStyle Culture and China' s
    Beginning Form of the New Axial Age
    LIU Shi-Lin
    2010, 17(05):  70-82. 
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     Modernization is a process of the redistribution and strategic adjustment of global resources. As far as Shanghai is concerned, after it obtains the minimum qualification and identity for urban competition, it opens for itself a channel to modern international resources dominated by Western civilization. Shanghai is able to become China' s contemporary metropolis that possesses the highest level of internationalization and urbanization, just because, in its every critical moment of development, it can absorb the philosophy, wisdom and spirit of the time, which is essential for China and the world. In every important phase, it is directly related to different forms of axial intelligence. Shanghai' s cultural center, which is established from its beginning to 1930s, is a cultural pattern of being most worthy of attention and study for further understanding how China' s civilization is melted into a new axial age of globalization. In the confliction between the East and West, the ancient and modern, Shanghai completes successfully a new spiritual awakening and creates a unique culture form, thus, in the modern abyss full of blood and fire, life and death, exploring a way of life and acting as a pioneer for China' s being admitted into the world' s civilization system of new axial age. And Shanghai, in the new axial age, opens directly the modern lifestyle and aesthetic taste. Shanghai' s cultural spirit and life style, in the aspect of promoting the transformation of China' s traditional values, daily lifestyle and aesthetic taste, can not be compared by any other regional culture in modern China.

    What Is Cultural Studies?(
    ZHANG Chi-Hua
    2010, 17(05):  83-91. 
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    Nowadays, the cultural studies of the European and American scholars have gone beyond the scholastic methods of research. They no longer consider the cultural studies merely as a research method or form, and, therefore, jump out of the endless stereotype of defining concepts. Especially, Ben Agger proposes decanonization and despecialization. Instead of turning the culture studied into a kind of empty methodology, he points out that there is no single form of the cultural studies and that the scholastic research method results in its departure from politics. All these cultural theories of "new lefts" in the European and American countries are instructive for China' s accurately understanding of what cultural studies is.

    A Short Comment on the Font Narrative of the Chinese Character
    WANG Ji-Hong
    2010, 17(05):  92-108. 
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     Mr. Dong Naibin' s "Two Great Traditions of Lyric and Narrative in the History of the Chinese Literature", published in Shanghai' s Social Sciences of No. 3, 2010, proposes a theory of "the old Chinese character is produced, evolved and developed for record and narrative", and gives some authentic examples. This theory actually responds the two sayings of the "selfexplanatory" and the "associative compounds" in Ban Gu' s "SixScript Theory". Dong' s theory also develops the interpretation of such configuration as the "associative compounds" in Xu Shen' s "SixScript Theory", thus providing the research for the Chinese character with a new perspective. Based on the previous theories, this author tries to give a short analysis of the inherent features of the Chinese character such as the pictographic meaning, the combination of sound and meaning, and the threedimensional narrative, so as to respond Dong' s theory and display the long tradition and deep root of the Chinese literary narrative.

    A Survey of the Studies of William Faulkner's Short Stories in China
    SHU Zhen-Wu, YANG Rui-Gong
    2010, 17(05):  109-123. 
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    This essay gives a comprehensive and systematic review, since 1979, of the translation and introduction, the overall studies and the case studies of the short stories of William Faulkner, the Nobel Prize winner, in China. Chinese scholars have translated and published 40 of Faulkner' s 129 short stories, the studies of which have obtained considerable scholarship achievements. However, most of the short stories haven' t been translated into the Chinese and haven' t been studied in China. Compared with the studies of William Faulkner himself abroad and the studies of his novels at home, the studies of his short stories in China still lag behind both on span and depth. Therefore, Chinese scholars should reinforce the translation and introduction of Faulkner' s short stories and Faulkner research achievements from abroad, broaden the research vision and explore the new research perspective of study to provide better service for the prosperity and development of the Chinese literary culture.

    Manly Ideal, Queer Identity and Homoerotic Desire
    ——The Male Narrative Strategy in the British Gothic Novel
    HUANG Lu-Shan
    2010, 17(05):  123-136. 
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     This essay, according to George Mosse' s theory of manly ideal, and taking as the study cases the three representative works of Horace Walpole, William Beckford and Matthew Lewis, gives an analysis of the male narrative strategy in the British Gothic novel. The authentic facts indicate that Horace Walpole, William Beckford and Matthew Lewis are queers, whose male identities have suchandsuch inadequacy, each displaying a tendency to homosexuality or bisexuality. And in the eighteenth century, Britain is dominant in heterosexuality. The homophobia prevailing in the society causes the above three authors to be in the closet, thus producing different degrees of repression in their psychology. Their Gothic novels are just a reflection of the repression, in a natural or unnatural way. In conclusion, the male narrative strategy in the British Gothic novel is the one of homosexual consciousness.

    On Sanyan' s (three discourses) Meaning and its Value in Zhuangzi
    ——With Bakhtin' s Mata Linguisties as a Reference
    MA Jun-Yang
    2010, 17(05):  137-144. 
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    The "threediscourse" in the book of Zhuangzi, that is, "Yuyan", "Chongyan" and "Zhiyan", have a very important theoretical value, the essential meanings of which are as follows: (1) "Yuyan", as a kind of fictive words, displays externally a dialogue; (2) "Chongyan" is others'  words that can express the viewpoint of Zhuangzi himself; (3) "Zhiyan" is one' s own words directly describing or presenting things. The "threediscourse" is the classification of discourse from the dimension of Communication, being basically consistent with the classification of discourse from the dimension of paralinguistics. This fact indicates that Zhuangzi' s language concept, both advance and simple, should take an important part in China' s history of literary theory.
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