scholarly journals Implication of Love and Death in the Tian Han Aestheticism Drama

2007 ◽  
Vol null (34) ◽  
pp. 405-424
Author(s):  
Deukchang Cho
Keyword(s):  
Tian Han

The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937–1949

1996 ◽  
Vol 30 (4) ◽  
pp. 901-929 ◽  
Author(s):  
Chang-Tai Hung
Keyword(s):  
French Revolution ◽  
Communist Party ◽  
Chinese Communist Party ◽  
Armed Conflicts ◽  
Left Wing ◽  
National Anthem ◽  
The Chinese Communist Party ◽  
War Of Resistance ◽  
Hearts And Minds ◽  
Tian Han

Nie Er (1912–1935), a young Communist musician from Yunnan, could not possibly have imagined that when he wrote this patriotic song (with lyrics by the left-wing writer Tian Han [1898–1968]) for the 1935 filmChildren of Troubled Times (Fengyun ernü) it would soon become one of the most popular tunes in China. The overwhelming success of the song reflected a nation, long frustrated by imperialist (especially Japanese) aggression, thwarted reforms, domestic armed conflicts, and government ineptitude, venting its anger and crying out for a solution. When the Japanese invaded China two years later, ‘The March of the Volunteers’ was rapidly transformed into the quintessential song of resistance against Japan, sung at schools, in the army, at rallies, and on the streets. The song was influential in capturing the hearts and minds of millions during China's eight-year War of Resistance against Japan (1937–1945); its impact, in the words of one contemporary song critic, was ‘similar to that of the “Marseillaise” [in the French Revolution]’. When the Chinese Communist Party (CCP) seized power in it adopted the song as the official national anthem.

The Allegory of Time and Space

2016 ◽  
Author(s):  
Laikwan Pang
Keyword(s):  
The Political ◽  
Time And Space ◽  
Literary Works ◽  
Historical Dramas ◽  
To Come ◽  
Representative Work ◽  
Maoist China ◽  
Tian Han

How did writers in Maoist China assume their role as authors, torn between self-expression and the political demands of the Party? How should we read the literary creations produced at a time in which literary works were not always candid expressions of the authors, but were manifestations of complex negotiations and self-censorship? This chapter provides a case study to illustrate these quandaries, focusing specifically on Tian Han’s historical dramas produced during the late 1950s. It illustrate how Tian Han tried to use historical and intercultural allegories to come to terms with contemporary happenings and offers an analysis of a rarely studied but extremely representative work,Princess Wencheng, that embodies the struggles of the Party and the Han intellectuals with the Tibetan problems during that time.

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