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ID:
163312
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| Summary/Abstract |
The quarter century following the Cold War was the most peaceful in modern history. The world’s strongest powers did not fight one another or even think much about doing so. They did not, on the whole, prepare for war, anticipate war, or conduct negotiations and political maneuvers with the prospect of war looming in the background. As U.S. global military hegemony persisted, the possibility of developed nations fighting one another seemed ever more remote.
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| 2 |
ID:
139300
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| Summary/Abstract |
In this paper, I read the play Red Flag Song (1948) as a window into a moment of missed opportunity in China’s revolution, when the Party’s re-engagement with the urban working class could have strengthened democratic tendencies within the Party, and when China’s critical realist literary tradition could have grounded Chinese socialism in the real-life experiences and aspirations of the grassroots. Written at a time when the Party’s control of both industrial and literary productions had begun to tighten, Red Flag Song registered compromise as well as defiance on the shopfloor, and foregrounded two issues as deeply related and fundamental to the making of a New China: work-place democracy as the basis for making China’s working class, and realist literature as a means of understanding complexities and pluralities in social upheavals, and of ensuring a humane and democratic socialism. Unfortunately, the visions Red Flag Song carried were never realised in the following years. They remain unfulfilled promises of the Chinese revolution.
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