Tapestry of Light: Aesthetic Afterlives of the Cultural Revolution PDF
Preview Tapestry of Light: Aesthetic Afterlives of the Cultural Revolution
Tapestry of Light Ideas, History, and Modern China Edited by Ban Wang, Stanford University Wang Hui, Tsinghua University VOLUME 10 The titles published in this series are listed at brill.com/ihmc Tapestry of Light Aesthetic Afterlives of the Cultural Revolution By Yiju Huang LEIDEN | BOSTON Library of Congress Cataloging-in-Publication Data Huang, Yiju. Tapestry of light : aesthetic afterlives of the Cultural Revolution / by Yiju Huang. pages cm Includes bibliographical references. ISBN 978-90-04-28553-8 (hardback : acid-free paper) — ISBN 978-90-04-28559-0 (e-book) 1. China— Intellectual life—1976– 2. China—History—Cultural Revolution, 1966–1976—Influence. 3. Aesthetics— Social aspects—China. 4. Arts and society—China. 5. Arts, Chinese—History—20th century. 6. Arts, Chinese—History—21st century. 7. Chinese literature—20th century—History and criticism. 8. Chinese literature—21st century—History and criticism. 9. Motion pictures—China—History—20th century. 10. Motion pictures—China—History—21st century. I. Title. DS779.23.H83 2015 951.05’6—dc23 2014036721 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. issn 1875-9394 isbn 978-90-04-28553-8 (hardback) isbn 978-90-04-28559-0 (e-book) Copyright 2014 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Nijhoff and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper. For my parents ∵ Contents Acknowledgments ix 1 Introduction: Embroidering a Tapestry of Hope 1 2 Familial Secrets: Mao’s Famine in Hong Ying’s Daughter of the River 17 3 Aesthetic of Heterogeneity: Roots in Han Shaogong’s Theoretical and Literary Writings 45 4 Ghostly Vision: Zhang Xiaogang’s “Bloodline: The Big Family” 75 5 Protean Youth: Redemptive Poetics in In the Heat of the Sun and The Postmodern Life of My Aunt 100 Coda: Ba Jin: Toward an Ethical Relation to History 129 Bibliography 137 Index 148 Acknowledgments Much is owed to many. I am deeply grateful to my teacher Gary G. Xu, who has provided me with unyielding support and essential training in Chinese literature. He instilled in me the intellectual confidence by simply having faith in me. My heartfelt grati- tude also goes to my other mentors at the University of Illinois at Urbana- Champaign. Michael Rothberg’s boundless knowledge of trauma studies, Rania Huntington’s attention to details and ghostly matters, and the late David G. Goodman’s prompt and incisive critiques have guided and inspired me to become a better thinker. This book bears the traces of their teachings that have influenced it. Yiching Wu has encouraged me and offered constructive suggestions for post-dissertation revisions. Warm thanks are due to him for his time, kindness, and expertise on the Cultural Revolution. I am grateful to Qin Higley for taking an interest in this project. I am also thankful to the anonymous readers for their thoughtful comments for strengthening this project and Debra Soled’s impeccable work. At Bowling Green State University, I am indebted to my students and col- leagues, especially those who participated in the Trauma Cluster. Christina Guenther, Edgar Landgraf, Jeremy Wallach, and Esther A. Clinton have helped me to think through the complexities of trauma and cultural remembrance during my process of bringing this book to fruition. I also thank my friends E.K. Tan, Tonglu Li, Yanjie Wang, Mei-Hsuan Chiang, I-In Chiang, Chia-Rong Wu, Eric Dalle, and Junjie Luo, who have been invaluable interlocutors and a serene source of happiness in my sometimes-hectic academic life. If there is a single debt of gratitude, it is to my parents, Huang Shengchen and Gao Shaoxuan who first instilled in me the joy of reading. Without their affection, nurturance, and wise advice, I simply and literally do not know where I would be. In the spirit of love, I dedicate Tapestry of Light to them. Finally, my deepest gratitude goes to my husband Martin and my daughter Ruru for their continual inspiration and enduring love, which has sustained me.
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