By Nien Cheng
A first-hand account of China's cultural revolution.
A first-hand account of China's cultural revolution. Nien Cheng, an anglophile and fluent English-speaker who labored for Shell in Shanghai less than Mao, used to be positioned lower than apartment arrest through purple Guards in 1966 and to that end jailed. All makes an attempt to make her confess to the fees of being a British undercover agent failed; all efforts to indoctrinate her have been met by way of a steadfast and fearless refusal to just accept the phrases provided via her interrogators. whilst she was once published from felony she was once advised that her daughter had dedicated suicide. in truth Meiping have been crushed to loss of life through Maoist revolutionaries.
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His is analogy. The " a n a l o g i c a l " arts (cinema, photography), the " a n a l o g i c a l " methods (academic criticism) are discredited. W h y ? Because analogy implies an effect o f Nature: it constitutes the "natu r a l " as a source o f truth; and what adds to the curse of analogy is the fact that it is irrepressible: no sooner is a form seen than it must resemble something: frumanity seems doomed to Analopv. i . e . , i n the l o n g r u n , to Nature. Whence the effort o f painters, o f writers, to escape it.
A t the beginning of the year, he solemnly listed on the blackboard the 44 students' relatives who had " f a l l e n on the field of h o n o r " ; uncles abounded, and cousins, but I was the only one who could c l a i m a father; I was embarrassed by this—excessive—differentiation. Yet once the blackboard was erased, nothing was left of this proclaimed mourning—except, in real life, which proclaims nothing, which is always silent, the figure of a home socially adrift: no father to k i l l , no family to hate, no milieu to reject: great Oedipal frustration!
Because analogy implies an effect o f Nature: it constitutes the "natu r a l " as a source o f truth; and what adds to the curse of analogy is the fact that it is irrepressible: no sooner is a form seen than it must resemble something: frumanity seems doomed to Analopv. i . e . , i n the l o n g r u n , to Nature. Whence the effort o f painters, o f writers, to escape it. H o w ? B y two contrary excesses, or call them two ironies w h i c h flout Analogy, either by feigning a spectacularly flat respect (this is the Copy, w h i c h is rescjiertt, or hy -rpgtP~ larlv—according to the regulations—distorting the imitated object (this is Anamorphosis).
Life and Death in Shanghai by Nien Cheng