The Chinese Cultural Revolution Database CD-ROM. Song Yongyi , Shih Chih-yu , Ding Shu , Zhou Yuan , Shen Zhijia , Guo Jian , Zhou Zehao , Wang Youqin

2003 ◽  
Vol 50 ◽  
pp. 195-198 ◽  
Author(s):  
Warren Sun
2003 ◽  
Vol 175 ◽  
pp. 837-839
Author(s):  
Michael Schoenhals

What will not be lost on students of revolutionary chromatography is the fact that the hard cover index accompanying this CD-ROM is a huge black book. In the professional jargon of Cultural Revolutionary historians everywhere, The Chinese Cultural Revolution Database is already being referred to, tongue-in-cheek, as the hei cailiao – “black materials” – of editor-in-chief, Song Yongyi. Readable on most MS Windows platforms capable of displaying Chinese characters, it comes with a built-in search-engine and comprises nearly 30 million words. Suddenly, it is as if Eric Hobsbawm already had China's Cultural Revolution – and not merely the former Soviet Union – in mind when he observed, after the fall of the wall, that “Inadequacy of sources is the last thing we can complain about” (On History, p. 239).


Hypatia ◽  
2002 ◽  
Vol 17 (1) ◽  
pp. 53-70
Author(s):  
Jay Gallagher

In Hypatia's (1.5) 3, issue, Xinyan Jiang describes a failed experiment in sexual equality conducted during the Chinese Cultural Revolution. She believes the lesson to be drawn from it is that males will continue to have an advantage in societies requiring much physical strength. In contrast, I argue here that this failed experiment shows that the Maoist attempt to force women into men's roles was not feminist. American pioneers are cited as a counterexample.


Telos ◽  
1974 ◽  
Vol 1974 (20) ◽  
pp. 138-153
Author(s):  
G. Ross

2016 ◽  
Vol 21 (4) ◽  
pp. 429-447 ◽  
Author(s):  
Laurence Coderre

This article examines the discourse surrounding the collection of Cultural Revolution memorabilia in the contemporary People’s Republic of China. The author focuses on the emergence of three key discursive figures: the collector/curator, the collector/investor, and the collector as dupe. At issue in the construction of each of these figures is the unsettling force of consumer desire, its ethics and negotiation. In the case of the curator and investor, the author considers the mechanisms through which consumer desire is decentered in the name of historical responsibility and exchange value, respectively. These mechanisms of deferral are contrasted to the often nostalgic desire embodied by the dupe, but this figure and his or her consumer desire are in fact crucial to the discourse of collection as a whole. Indeed, despite claims to the contrary, the dupe bespeaks an enduring quest for a mode of interaction between person and thing outside the bounds of commodity exchange.


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