Reconstruction and Rectification of the Communist Party in the Shanghai Underground: 1931–34
Recently scholars have shown that Mao's accusations against the Russian Returned Students stemmed from his need to bolster his own legitimacy by discrediting their role in the 1931–34 period. According to the 1945 “Resolution on questions in the history of the Party,” the Returned Students were “doctrinaire sectarians” whose “‘offensive line’ for the Party” and “repeated failures in political work” caused “serious damage to the Party in the White areas.” But closer investigation indicates that in the bastion which they are accused of weakening and decimating, the Returned Students devoted considerable attention to strengthening Party organization, educating cadres and mobilizing mass support. Although factional struggles and aggressive tactics characterized the policies of the Twenty-Eight Bolsheviks in the 1931–34 period, their contributions to the Chinese Communist Party's (CCP) eifort to maintain a viable organization in the cities cannot be ignored. That the urban Party, hurt severely by the Kuomintang (KMT), survived at all can be attributed to efforts that Mao later denigrated.
Glimpses Behind the Scenes
HAVING read Professor J. E. Maddy's article "Be Fair" in the December issue of the Music Supervisors Journal, I consider it opportune to dwell on the jeopardy in which the art of music finds itself placed today. My special purpose is to impress upon the music supervisors of this country the need for whole-hearted cooperation with the Amercan Federation of Musicians, which has valiantly cast its gauntlet into the ring in defense of the very life of musical
Unity Identity Text Self
Abstract Understanding the receptivity of literature, how one work admits many readers, begins with an analogy: unity is to text as identity is to self. Unity here means the way all a text’s features can be related through one central theme. Identity describes a person’s sameness within different behaviors as variations on one identity theme (Lichtenstein). To find unity or identity, however, the interpreter himself plays a behavioral variation on his identity theme. In interpreting, his identity re-creates itself as he shapes the text to match his characteristic defenses, fantasies, and coherences. Thus, what a poet says about fictional, political, or scientific texts expresses the same identity theme as the poems he writes. To understand reading, criticism, and any knowing or making in symbols, then, we need to let go the Cartesian craving for objectivity and accept the themes in ourselves with which we construe the world—including literary works.