Jinhua Dai – författare

In After the Post–Cold War eminent Chinese cultural critic Dai Jinhua interrogates history, memory, and the future of China as a global economic power in relation to its socialist past, profoundly shaped by the Cold War. Drawing on Marxism, post-structuralism, psychoanalysis, and feminist theory, Dai examines recent Chinese films that erase the country’s socialist history to show how such erasure resignifies socialism’s past as failure and thus forecloses the imagining of a future beyond that of globalized capitalism. She outlines the tension between China’s embrace of the free market and a regime dependent on a socialist imprimatur. She also offers a genealogy of China’s transformation from a source of revolutionary power into a fountainhead of globalized modernity. This narrative, Dai contends, leaves little hope of moving from the capitalist degradation of the present into a radical future that might offer a more socially just world.

In After the Post–Cold War eminent Chinese cultural critic Dai Jinhua interrogates history, memory, and the future of China as a global economic power in relation to its socialist past, profoundly shaped by the Cold War. Drawing on Marxism, post-structuralism, psychoanalysis, and feminist theory, Dai examines recent Chinese films that erase the country’s socialist history to show how such erasure resignifies socialism’s past as failure and thus forecloses the imagining of a future beyond that of globalized capitalism. She outlines the tension between China’s embrace of the free market and a regime dependent on a socialist imprimatur. She also offers a genealogy of China’s transformation from a source of revolutionary power into a fountainhead of globalized modernity. This narrative, Dai contends, leaves little hope of moving from the capitalist degradation of the present into a radical future that might offer a more socially just world.

In After the Post–Cold War eminent Chinese cultural critic Dai Jinhua interrogates history, memory, and the future of China as a global economic power in relation to its socialist past, profoundly shaped by the Cold War. Drawing on Marxism, post-structuralism, psychoanalysis, and feminist theory, Dai examines recent Chinese films that erase the country’s socialist history to show how such erasure resignifies socialism’s past as failure and thus forecloses the imagining of a future beyond that of globalized capitalism. She outlines the tension between China’s embrace of the free market and a regime dependent on a socialist imprimatur. She also offers a genealogy of China’s transformation from a source of revolutionary power into a fountainhead of globalized modernity. This narrative, Dai contends, leaves little hope of moving from the capitalist degradation of the present into a radical future that might offer a more socially just world.

This book systematically studies the literary output of female writers in contemporary China within the frame of literary theories of feminism. With tools from psychoanalysis, structuralism and deconstructionism, the two female authors, Meng and Dai, analyze 9 important female writers from 1919 to 1949, including Yin Lu, Xin Bing, Ning Ding, Ailing Zhang. By decade, the authors provide a comprehensive depiction of these female writers' historic-cultural background as well as their reception by critics and audiences. Navigating the complex relation between mainstream literary trends and female writers’ practice, this text represents a landmark of practice of literary feminist criticism within the Chinese language.

This book systematically studies the literary output of female writers in contemporary China within the frame of literary theories of feminism. With tools from psychoanalysis, structuralism and deconstructionism, the two female authors, Meng and Dai, analyze 9 important female writers from 1919 to 1949, including Yin Lu, Xin Bing, Ning Ding, Ailing Zhang. By decade, the authors provide a comprehensive depiction of these female writers'' historic-cultural background as well as their reception by critics and audiences. Navigating the complex relation between mainstream literary trends and female writers’ practice, this text represents a landmark of practice of literary feminist criticism within the Chinese language.