Yanzhe Mao zhuxide geming wenyi luxian shengli qianjin (Advance victoriously while following Chairman Mao's revolutionary line in literature and the arts) 沿着毛主席的革命文艺路线胜利前进 (designer: Central Academy of Industrial Arts collective work 中央工艺美术学院供稿, publisher unknown, 1968, Stefan R. Landsberger Collection)

Yanzhe Mao zhuxide geming wenyi luxian shengli qianjin (Advance victoriously while following Chairman Mao's revolutionary line in literature and the arts) 沿着毛主席的革命文艺路线胜利前进 (designer: Central Academy of Industrial Arts collective work 中央工艺美术学院供稿, publisher unknown, 1968, Stefan R. Landsberger Collection)

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On 1 October 2014, the People’s Republic of China (PRC) will observe the 65th anniversary of its founding which ended a decades’ long period of oppression by imperialism, internal strife and (civil) war. Under the Chinese Communist Party (CCP), modernisation became the most important task. Marxism-Leninism and Mao Zedong Thought guided the nation a...

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... The goal was to end the country's 100 years of humiliation, restore China to its former international prestige, make the country "prosperous and powerful", technically, economically and politically independent, and raise the living standards and well-being of all sections of the population. The goals required a strong army, modernization, and industrialization (Landsberger 2014;Lin 1994). The party also had the means to pursue its policies after defeating its political rivals. ...
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The purpose of this article is to describe the long-term economic development of Finland and China and to study the factors that influenced them. The paper combines theories of structural change, institutional change and strong state. The study is based on a method of comparative historical research. The investigation relies on secondhand sources.
Thesis
Questa tesi è il risultato di una ricerca dei testi ancora non tradotti in lingue europee, di Guan Moye 管谟业, meglio conosciuto con il suo pseudonimo Mo Yan 莫言, vincitore del premio Nobel per la letteratura del 2012, autore di “Sorgo Rosso”, e tanti altri romanzi e racconti brevi. La tesi è una proposta di traduzione di questo testo teatrale facente parte di una raccolta di tre opere di cui due sono racconti tratti dalla cultura tradizionale cinese, Women de Jing Ke 我们的荆轲 e Addio mia concubina Bawangbieji霸王别姬, con testi rivisitati dallo stesso autore con l’intento di renderli più vicini al pubblico moderno, mentre il testo che traduco, Guolu gong de Qizi 锅炉工的妻子, è un racconto di pura invenzione ma molto realistico trattante temi di tempi recenti della storia della Cina: giovani “rieducati” della cosiddetta generazione zhiqing 知青 che dalle campagne tornano a vivere in città ed un contadino che, per la prima volta, fa il suo ingresso nella frenetica vita cittadina. Questi giovani “rieducati” facevano parte del progetto di Mao Zedong 毛泽东 durante il periodo della Rivoluzione Culturale cinese (1966-1976). L’elaborato si sviluppa in tre capitoli: il primo capitolo tratta della storia e dello sviluppo del teatro cinese, dalle origini fino ai giorni nostri mostrando anche i fattori storici e culturali che ne hanno causato i cambiamenti. Nel secondo capitolo viene descritta la vita dell’autore, Guan Moye 管谟业, con una parte dedicata alla generazione zhiqing 知青 mentre nel terzo capitolo troviamo la traduzione integrale del testo cinese con il relativo commento traduttologico in cui si sono descritte le principali scelte traduttive adottate. This thesis is the result of a search for texts not yet translated into European languages, by Guan Moye 管 谟 业, better known by his pseudonym Mo Yan 莫言, winner of the Nobel Prize for Literature in 2012, author of "Red Sorghum" , and many other novels and short stories. The thesis is a proposed translation of this theatrical text which is part of a collection of three works of which two are stories taken from traditional Chinese culture, Women de Jing Ke 我们 的 荆轲 and Addio mia concubina Bawangbieji 霸王别姬, with texts revisited by same author with the intention of bringing them closer to the modern public, while the text I translate, Guolu gong de Qizi 锅炉工 的 妻子, is a story of pure invention but very realistic dealing with themes of recent times in the history of China: young people " re-educated ”of the so-called zhiqing generation 知青 who return from the countryside to live in the city and a farmer who, for the first time, enters the frenetic city life. These “re-educated” young people were part of the Mao Zedong progetto project during the period of the Chinese Cultural Revolution (1966-1976). The paper is developed in three chapters: the first chapter deals with the history and development of Chinese theater, from its origins to the present day, also showing the historical and cultural factors that caused its changes. The second chapter describes the life of the author, Guan Moye 管 谟 业, with a part dedicated to the zhiqing 知青 generation, while in the third chapter we find the complete translation of the Chinese text with the related translational commentary describing the main translation choices adopted.
Article
The Quemoy crisis of 1954–1955 found the Eisenhower White House struggling to appear tough against Mao’s China and supportive of Chiang Kai‐shek’s Taiwan while not triggering World War III. When the initial rhetorical campaign of “fuzzing” failed, Eisenhower’s team switched to launching threats of imminent nuclear war—yet both strategies of deterrence were beside the point, for we now know that Mao had no intention of invading Quemoy or Taiwan. In this classic Cold War conundrum, what I call “the agony of sovereignty” left American leadership grasping at straws while misreading the trajectory of postcolonial nationalisms in Asia. Nonetheless, I demonstrate how, by the spring of 1955, Mao, Eisenhower, and Chiang all felt a sense of triumph, as they each evolved responses that left their main interests intact while avoiding what observers had feared might become “a chain reaction of disaster.”