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"The only book with a larger print run is Selected Works of Chairman Mao," one of his friends says (510). They mock the fact that the works of Chairman Mao had such mass publication and that everyone was required or encouraged to read it. Later in the conversation, Fang Yan is also introduced as someone who is "better known in Europe than here in China" (ibid). Wang Shuo is emphasizing here that a man like Fang Yan is not liked by the Chinese government. But those who are subversive, even representing seamier hooligan culture, are popular in Europe. Europeans love Chinese dissidents and subversives.
The characters in the novel also have a propensity for sex with as many women as possible. They are always in a hunt to win over women for sex. In a conversation with a woman named Li Jiangyun, Fat Man Wu tries to encourage her cheat on her husband. "Once you've fulfilled your marital obligation, it's time to think about yourself, about hooking up with somebody you really like" (511). The joke is really subtle. It also sounds like a critique...
And this conversation again turns into a ridicule of the Communist Party. As a melange of humor and vulgarism, Fang Yan tells them a joke: "Any fanties, arty farty, let me into your panties, and you can join my party. In the skit that's what the party secretary says to girls who are just aching to join up" (ibid). It is all about joke, but Fang Yan is also taking a shot at Party members.
Though the characters in Playing the Thrills are not really dissidents who oppose the government for the sake of undermining the Communist Party, they are far from being model citizens. They conduct an alternative way of life and propagate the idea that the official Communist way is boring and hypocritical -- they represent seamier culture -- which is, given the stance of the Communist Party on these affairs, is subversive enough.
Work Cited:
Wang, Shuo, and Howard Goldblatt. Playing…
Work Cited:
Wang, Shuo, and Howard Goldblatt. Playing for Thrills. New York: William Morrow, 1997. Print.
Female Agency in Short Stories There are numerous points of similarity between Eileen Chang's "Shame, Amah!" and Wang Anyi's "Granny". Both stories depict the lives of Chinese domestic workers. Moreover, each tale is set during the same time period -- the years surrounding the Second World War. Furthermore, both of the authors are Chinese and display a marked affinity for the intimate details surrounding Chinese culture, which factors prominently in each
culture of humankind and its history, for as the saying goes, "the more we are different, the more we are the same." The Tang Dynasty in China occurred hundreds of years ago, yet some of the issues from that time remain as pertinent today as they did in the past. The poets of this period truly exemplify this continuation through time. When reading the works of the most well-known
Poetry and Politics in 1079: The Crow Terrace Poetry Case of SU Shih Charles Hartman in his article on the political fallout of the poetry of SU Shih acknowledges that all societies practice censorship in some degree and in some form. Western society has a history of confiscating, banning, destroying, controlling the distribution and punishing authors and individuals for the creation and possession of written texts that are deemed morally or
In the course of the Cultural Revolution, the communist leader Mao Zedong proclaimed particular cultural requirements for both art and writings in China. This was a period that was filled with violence and harsh realisms for the people within the society. Authors such as Bei Dao, Gu Cheng and Yu Hua can be considered to be misty poets, whose works endeavored to shift from an inactive response to active formation.
Chinese Cultural Revolution in Literature There are a number of stark images found in the works of literature reviewed by Dao, Cheng, and Hua in this assignment. Specifically, this paper details the imagery evinced in Bei Dao's "Resume," Gu Cheng's "Curriculum Vitae," and Yu Hua's "On the Road at Eighteen." That imagery and those works in general are thinly veiled allusions to the Chinese Cultural Revolution, which took places in the
Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place. Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code,