The Construction of the Image /Myth of a Martyr in the Cultural Revolution: An Interpretation/Demythicization of The Song of Ouyang Hai
Jin Jingmai’s novel The Song of Ouyang Hai was published in 1965 and became extremely popular in 1966 right before the launch of the Cultural Revolution. It can be regarded as a prelude to Cultural Revolution literature. The novel epitomizes the transition from the politically inclined “seventeen-year literature” (1949–66) to the highly politicalized “Cultural Revolution literature” (1966–76). It is also the perfect embodiment of the creation of the myth of a socialist martyr. In this article, I attempt to examine the features of socialist martyrs and decode the construction of the myth of such martyrs by exploring motifs such as diaries, letters, and the performative bodies in The Song of Ouyang Hai as well as related works and posters that feature revolutionary and socialist martyrs from the 1960s. The article also examines how the constant revisions of the novel driven by the political power struggles during and after the Cultural Revolution complicate and adumbrate the myth of the socialist martyr.
Cultural policy and revolutionary music during China’s Cultural Revolution: the case of the Shanghai Symphony Orchestra
This paper examines the relation between the cultural policy of the Chinese Communist Party (CCP) and the music of model plays (yangbanxi 样板戏), especially music produced by Western symphony orchestras, during the ten-year Cultural Revolution in China. It takes the Shanghai Symphony Orchestra (SSO) as the focal point of this historical episode. Model plays of the Cultural Revolution promoted communist and revolutionary themes. All aspects of their performance were examined for conformity to Maoist thought. This paper explores how the CCP’s ideology and its cultural policy were embodied in revolutionary music, using one of the model plays, Taking Tiger Mountain by Strategy, as an analytical case study. Most of the historical materials cited in this research are held by the SSO Archive. The SSO played a crucial role in creating and performing the music for Taking Tiger Mountain by Strategy. The academic value of its archive has long been overlooked. This paper provides a new perspective on the Cultural Revolution, one viewed through policies of a Western symphony orchestra, and it suggests that scholars apply the term ‘cultural policy’ more deliberately in future studies of the Chinese Cultural Revolution.
Cogs in the Soviet wheel : the formation of Soviet man
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