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Authors: Geremie Barme

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45. There is a large body of material on this subject. Some relevant quotations from Deng and Party Central are included in the present volume. See also Hu Qiaomu,
Hu Qiaomu wenji,
vol. 2, pp. 130-186; Zhongyang xuanchuanbu bangongting, ed.,
Dangde xuanchuan gongzuo huiyi gaikuang he wenxian (1951-1992),
pp. 328-36, 357-64, and 367-70; and Zhonggong zhongyang wenxian yanjiushi,
Guanyu jianguo yilai dangde ruogan lishi wentide jueyi, zhushiben (xiuding),
pp. 500-578; also Susanne Weigelin-Schwiedrzik, "Party Historiography," in Jonathan Unger, ed.,
Using the Past to Serve the Present,
pp. 151-73.
46. See James D. Seymour, ed.,
The Fifth Modernization,
pp. 196-98 and 204-5.

 

Page 58
47. See Martin,
Cult & Canon,
pp. 113-15 and 127-29.
48. Dong Tai, "Dui `wailun' de jingyan jiaoxun."
49. See Joan Lebold Cohen,
The New Chinese Painting, 1949-1986,
pp. 60 and 63.
50. See Deng Xiaoping, "Guanyu fandui cuowu sixiang qingxiang wenti,"
Deng Xiaoping wenxuan (1975-1982),
p. 337. Also, Jonathan D. Spence, "Film and Politics: Bai Hua's
Bitter Love,
" in Spence,
Chinese Roundabout,
pp. 276-92. In an essay on the Mao centenary, Bai Hua, writing for a Hong Kong magazine, said that the scene in
Unrequited Love
most widely condemned in 1981 had been one showing the protagonist as a youth asking a Buddhist abbot why the face of the Buddha in his temple was so dark. He is told that worshippers had burned so much incense to the Buddha that his features had turned black. See Bai Hua, "Bainian guduMao Zedong bainian mingchen ji," pp. 50-52.
51. See, for example, "Mao Zedong Still Fresh in Memory," pp. 15-18; and Wang Zhen, "Mao Zedong sixiang shi dangde baoguide jingshen caifuMao Zedong tongzhi shishi shi zhounian ganyan," in Zhonggong zhongyang wenxian yanjiushi zonghezu, ed.,
Lao yidai gemingjia lun dangshi yu dangshi yanjiu,
pp. 265-71.
52.
Mao Zedong zhuzuo xuandu,
edited by the Zhonggong zhongyang wenxian bianji weiyuanhui and published by Renmin chubanshe, the book was released on 9 September 1986.
53.
Hongdengji, Zhiqu Weihushan,
and
Hongse niangzi jun,
respectively.
54. The cassette was called
Huanying qisheng: yingshi yinxiang dalianzou.
See Bai Jieming, "Yangbanxide zai jueqi," pp. 144-45. See also note 3 in "Let the Red Sun Shine In" in this volume.
55. The Chinese term
Maoshi fuzhuang
is a translation of the English expression "Mao suit." The common term for such jackets is
Zhongshan zhuang,
or "[Sun] Yat-sen suit." They are an imitation of old Japanese college uniforms, which, in turn, were inspired by a German original.
56. For details, see Barmé, "History for the Masses" in Unger, ed.,
Using the Past to Serve the Present,
pp. 266-76. For the Party's Department of Propaganda ban on Cultural Revolution books see Zhongyang xuanchuanbu bangongting, ed.,
Dangde xuanchuan gongzuo wenjian xuanbian (1988-1992),
pp. 1796-97.
57. Barmé, "History for the Masses," pp. 271-73.
58. Ibid., pp. 275-76. Of this literature, Dai Qing's work on Wang Shiwei and Chu Anping, and her collaboration with Wang Donglin, who wrote about Mao Zedong's relationship with the "last Confucian," Liang Shuming, is particularly noteworthy. See Dai Qing,
Xiandai Zhongguo zhishifenzi qun
and Barmé, "Using the Past to Save the Present," pp. 141-81, esp. pp. 162-63 and p. 168, n. 149.
BOOK: Shades of Mao: The Posthumous Cult of the Great Leader
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