Maoist Model Theatre: The Semiotics of Gender and Sexuality by Rosemary Roberts

By Rosemary Roberts

Here's a convincing mirrored image that alterations our knowing of gender in Maoist tradition, esp. for what critics from the Nineties onwards have termed its ‘erasure’ of gender and sexuality. specifically the powerful heroines of the yangbanxi, or ‘model works’ which ruled the Cultural Revolution interval, were obvious as genderless revolutionaries whose pictures have been harmful to girls. Drawing on modern theories starting from literary and cultural reports to sociology, this publication demanding situations that verified view via distinct semiotic research of theatrical platforms of the yangbanxi together with dress, props, kinesics, and diverse audio and linguistic structures. Acknowledging the advanced interaction of conventional, smooth, chinese language and international gender ideologies as occur within the 'model works', it essentially alterations our insights into gender in Maoist tradition.

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Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976) (Women and Gender in China Studies) by Rosemary Roberts (2010-04-30)

Here's a convincing mirrored image that adjustments our figuring out of gender in Maoist tradition, esp. for what critics from the Nineties onwards have termed its ‘erasure’ of gender and sexuality. specifically the robust heroines of the yangbanxi, or ‘model works’ which ruled the Cultural Revolution interval, were obvious as genderless revolutionaries whose photographs have been harmful to girls.

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Extra resources for Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976) (Women and Gender in China Studies) by Rosemary Roberts (2010-04-30)

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Richard Kraus, “Arts Policies of the Cultural Revolution: The Rise and Fall of Culture Minister Yu Huiyong,” in New Perspectives on the Cultural Revolution, ed. William A. Joseph, Christine P. W. Wong, and David Zweig, Harvard Contemporary China Series: 8 (Cambridge (Mass) and London: Harvard University Press, 1991), pp. 219–41. 48 Barbara Mittler, “Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy,” the world of music 45, no.

1999), pp. 101–37. introduction: gender and the model works 23 in Cultural Revolution cultural discourse, as follows; Taking gender as a continuum with ultra-femininity at one extreme and ultra-masculinity at the other, what happened in the Cultural Revolution was not the erasure of gender and sexuality from public, and particularly literary, discourse, but a shifting of gender parameters along political lines, with the parameters for ‘the revolution’ shifted towards the masculine end of the gender continuum and the parameters for the ‘counter revolution’ shifted towards the feminine end.

200. 81 The titles of these books—simply the names of the relevant yangbanxi—are no different from the books that contain only librettos (and perhaps notation for key songs as well as photographs), so that they are identifiable only by the fact that they run to nearly 400 pages instead of the less that 100 pages in the usual publications. See for example the 374 page publication: Zhongguo jingjutuan collective adaptation, Hong Deng Ji [the red Lantern] (Beijing: Renmin chubanshe, 1972). , Jingyu Yishu Jiaocheng [A course in the art of Beijing opera] (Shanghai: Huadong shifan daxue chubanshe, 2000), pp.

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