Abstract
If Adorno’s aphorism “To write poetry after Auschwitz is barbaric”1 epitomizes the crisis of modernity that Europe faces in the post-World War II era, the Cultural Revolution marks both the culmination and the abyss of modernity in China. The Holocaust ends the belief in a rational, progressive world history that the Hegelian-Marxist theory envisions. The Cultural Revolution, too, both consummates and undermines the project of Chinese modernity,2 which has exposed itself not only as an utmost pursuit for historical progress and social perfection, but also as a striking presentation of the ruin of the grand History. The Cultural Revolution, like the Holocaust, defies any rational interpretation, for it blends grandiose discourses and atrocious realities that have gone far beyond reason. The simultaneously attractive and hideous experience of the Cultural Revolution has produced the emotional ambivalence that ultimately traumatizes one’s rational faculty. The Cultural Revolution, again like the Holocaust, has shattered subjective integrity in every way, for the Maoist omnipotence of human power, which promises a prosperous future, is met with a disastrous outcome that invalidates its original imagination. The most profound destruction lies not only in physical victimization, but also in psychic traumatization, which deprives the nation of its faith in the historical truth and the ethical good.
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Notes
Jing Wang, “The pseudoproposition of ‘Chinese postmodernism’: Ge Fei and the experimentalist showcase”, in Jing Wang, High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China (Berkeley, CA: University of California Press, 1996), pp. 233–260.
Wang Ning “The mapping of Chinese postmodernity”, boundary 2 24:3 (1997), p. 38.
Wang Ning, “Jieshou yu bianxing: Zhongguo dangdai xianfeng xiaoshuo zhong de houxiandaixing” (Reception and transformation: postmodernity in contemporary Chinese avant-garde fiction), in Shengcun youxi de shuiquan (The Rings of Ripples of the Game of Existence) ed. Zhang Guoyi (Beijing: Beijing daxue chubanshe, 1994), p. 136. The same theme recurs in Wang’s postscript to the 1991 book Zouxiang houxiandaizhuyi (a Chinese translation of Toward Postmodernism, ed. Douwe Fokkema), in which he offers again a materialistic and social Darwinian perspective toward literature: “Postmodernism is a specific cultural and literary phenomenon of the Western post-industrial and postmodern society, so it can only appear in the area where the material civilization of capitalism is highly advanced, with rich soil of modernist culture. But in China, where only a few writers and works of modernist tendency have existed and such cultural soil and social condition are fundamentally lacking, it is impossible to have a postmodernist literary movement. The experiment of a small number of avant-garde writers with postmodern tendency can perhaps bring limited ‘bombastic effect’ in the circle of writers and critics, but ultimately cannot become the major current of contemporary Chinese literature.” “Yihouji” (postscript to the translation), in Zouxiang houxiandaizhuyi (Toward Postmodernism), ed. Wang Ning (Beijing: Beijingdaxue chubanshe, 1991), p. 324. It is especially baffling that, even if he ignores the postmodernist tendency in Latin American literature, Wang Ning neglects the essay on postmodern Soviet Russian theater in the book to which his postscript is written.
Wang Ning, “Constructing postmodernism: the Chinese case and its different versions”, Canadian Review of Comparative Literature 20:1/2 (March-June 1993), 58–59.
Arif Dirlik and Xudong Zhang, “Introduction: postmodernism and China”, boundary 2 24:3 (1997), 8.
Zhang Yiwu, “Chanshi Zhongguo de jiaolü” (The anxiety of interpreting China), Ershiyi shiji(The Twenty-First Century) 28 (April 1995), p. 130.
I am not claiming, of course, that transnational capitalism has no impact on contemporary Chinese cultural scene. Especially in the film industry, to some extent, “Chinese filmmakers are obliged to operate in accordance with logic of global commodification” (Sheldon Lu, “National cinema, cultural critique, transnational capital: the films of Zhang Yimou”, in Transnational Chinese Cinema: Identity, Nationhood, Gender, ed. Sheldon Lu [Honolulu: University of Hawaii Press, 1997], p. 132). But, as Chen Xiaoming has accurately pointed out, the complexities that characterize postmodernism as regards Chinese cinema include not only “the subordinate/resistant relationship between the native and the global cultural imaginary” but also “the parasitical/disobedient relationship between the domestic cultural production and the revolutionary discourse” (“The mysterious other: postpolitics in the narrative of Chinese film”, boundary 2 24:3 (1997), 140).
Zhao Yiheng, “Post-isms and Chinese new conservatism”, New Literary History 28:1 (1997), 42.
Karl Marx, “Critique of the Gotha programme”, in The Marx-Engels Reader, ed. Robert C. Tucker (New York: Norton, 1978), p. 531.
Arif Dirlik, “Postsocialism? Reflections on ‘socialism with Chinese characteristics,’” in Marxism and the Chinese Experience, ed. Arif Dirlik and Maurice Meisner (Armonk, NY: M.E. Sharpe, 1989), p. 374.
Mao Tse-tung, Quotations from Chairman Mao Tse-tung (Peking: Foreign Language Press, 1966), p. 1.
Mao Tse-tung, Selected Works of Mao Tse-tung (Peking: Foreign Language Press, 1965), vol. 2, pp. 337–338.
Lieh-tzu, The Book of Lieh-tzu, trans. A.C. Graham (London: John Murray, 1960), p. 100.
Xiaobing Tang, “The function of new theory: what does it mean to talk about postmodernism in China?”, in Politics, Ideology, and Literary Discourse in Modern China, ed. Liu Rang and Xiaobing Tang (Durham: Duke University Press, 1993), p. 296.
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© 2005 Charles A. Laughlin
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Yang, X. (2005). Toward a Theory of Postmodern/Post-Mao-Deng Literature. In: Laughlin, C.A. (eds) Contested Modernities in Chinese Literature. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403981332_6
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DOI: https://doi.org/10.1057/9781403981332_6
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