By Yiran Zheng
One of the oldest towns on the planet, Beijing was once an imperial capital for hundreds of years. After the founding of the People’s Republic of China in 1949, Beijing turned not just the political heart of the recent communist nation, but additionally the signifier of socialist ideol-ogy and progressive tradition. Now, within the twenty first century, Beijing embodies worldwide conflicts and worldwide connections. Over the process the final century, then, Beijing moved from the necessary “traditional” capital to the logo of communist city shape and eventually to a sophisticated city. those 3 phases within the background of Beijing and its moving representations are the subject of this examine.
Like different capitals, Beijing is far greater than its actual entity. It additionally features as an idea, a illustration. As urban planners have (and proceed to) current Beijing to the area as a version, the fluctuating photos of Beijing became solidified in city house. this day, the city kind of Beijing juxtaposes varied areas that span centuries, embodying many of the representations of the town by way of its planners in several eras. those representations of house additionally supply percentages for writers to reconsider and rebuild the town of their literary works. chinese language writers and filmmakers usually essentialize these city areas by means of making them symbols of other city cultures, the outdated homes representing “traditional,” “patriarchal” chinese language tradition whereas soviet-style constructions replicate revolu-tionary tradition. ultimately, the newer sprouting of residences, condos, and townhouses stands for the invasion of western modernity and gives facts of world capitalism in modern China.
Inspired by way of Henri Lefebvre, this research establishes a framework that connects city areas (representations of house) to writers and literary productions (representational space). I study the 3 significant city spatial types of conventional, communist, and glob-alized Beijing and view what those city areas suggest to chinese language writers and filmmakers in addition to how they use them to configure specific photographs of Beijing. I argue that those various configurations are literally the projections of these writers and filmmakers’ personal cultural imaginations; they galvanize a sort of emotional catharsis and in addition produce replacement visions of the cityscape.
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Additional resources for Writing Beijing: Urban Spaces and Cultural Imaginations in Contemporary Chinese Literature and Films
Sample text
Shuo Wang, preface in My Millennium (Beijing: Zuojia Press, 2007), 1. CHAPTER THREE Red Nostalgia in the Literature of the Military Compound Though considered as one of the most representative Beijing writers, Wang Shuo claims many times in public that he is not a Beijinger. He says that he is actually dongbeiren (a person from northeast China). ”1 This is partly because Wang Shuo was not born in Beijing. He was born in Liaoning Province and moved to Beijing with his parents in his childhood, being one of tens of thousands “political immigrants” after the foundation of the PRC.
In Beijing dialect, chatting is called “kan dashan” (literally “to hew the mountain”), which offers a reference to Yugong. The old man in the ancient Chinese story, CCP members in China’s revolution, and hooligans in the 1980s are connected by Yugong. The obvious distinctions between them created a space for humor. Topical substitution usually appears when Wang Shuo quotes Mao Zedong’s sayings. He quotes Mao’s words or sentences but uses them on an irrelevant or even improper topic so as to create a sense of humor.
Common people call them the “Gongheguo xingui” (New Aristocrats of the PRC). Wang Shuo is proud of being a child of the military compound. He says more than once: “Mao Zedong told Edgar Snow before his death that he changed nothing but a few districts around Beijing. I insist that those districts include Fuxing Street. . I think the ‘change’ means a change in people. ”12 One major goal of Mao Zedong’s revolution was selfless egalitarianism. His class-biased policy intended to empower young men to join the Cultural Revolution.