Since 2018, left-wing political parties have come to power in almost all major Latin American countries. This unusual political phenomenon is deemed the continuation and return of the first “pink tide”—the shift to...Since 2018, left-wing political parties have come to power in almost all major Latin American countries. This unusual political phenomenon is deemed the continuation and return of the first “pink tide”—the shift to the left that emerged in the region at the beginning of the twenty-first century—and thus has been called a second “pink tide.” It is not only the result of the evolution of multiple interwoven economic and social crises in Latin American countries but also a manifestation of the resurgence of a left-wing ideological trend worldwide. The current pink tide governments in Latin America generally hold high the banner of reform;promote social justice;prioritize economic growth and political reform;emphasize the role of the state in socio-economic development;strive to improve government governance capacity;and endeavor to explore new paths that differ from the neo-liberal development model. Nonetheless, how long this new pink tide will last depends on whether the left-wing governments in power can overcome four major challenges.展开更多
The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hon...The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hong Kong leftist cinema played an important role in the reception of New China cinema overseas; it can only be understood within the context of political and cultural life in New China. This paper explores the complicated relations between Hong Kong leftist cinema, domestic socialist cinema, and Shanghai left-wing cinema in the 1930s. In addition, it discusses The True Story ofAh Q as a film with features that identify it with both Hong Kong leftist cinema and New China cinema. Thus, the film＇s acceptibility is determined by the tensions between these two identifications.展开更多
This paper presents a comparative analysis on Chen Yingzhen＇s ＂Wo de didi Kangxiong＂ （＂My brother Kangxiong＇） and Wang Shangyi＇s ＂Ye gezi de huanghun＂ （＂Wild pigeon＇s dusk＂） in the cultural-historical c...This paper presents a comparative analysis on Chen Yingzhen＇s ＂Wo de didi Kangxiong＂ （＂My brother Kangxiong＇） and Wang Shangyi＇s ＂Ye gezi de huanghun＂ （＂Wild pigeon＇s dusk＂） in the cultural-historical context of Taiwan in 1960s, in the aim of exploring the origin of ＂nihilism＂ which had been prevailed among Taiwan youth from 1950s to 196os. Furthermore, the paper reexamines the hidden but intimate relationship between modernism and left-wing intellectuals.展开更多
文摘Since 2018, left-wing political parties have come to power in almost all major Latin American countries. This unusual political phenomenon is deemed the continuation and return of the first “pink tide”—the shift to the left that emerged in the region at the beginning of the twenty-first century—and thus has been called a second “pink tide.” It is not only the result of the evolution of multiple interwoven economic and social crises in Latin American countries but also a manifestation of the resurgence of a left-wing ideological trend worldwide. The current pink tide governments in Latin America generally hold high the banner of reform;promote social justice;prioritize economic growth and political reform;emphasize the role of the state in socio-economic development;strive to improve government governance capacity;and endeavor to explore new paths that differ from the neo-liberal development model. Nonetheless, how long this new pink tide will last depends on whether the left-wing governments in power can overcome four major challenges.
文摘The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hong Kong leftist cinema played an important role in the reception of New China cinema overseas; it can only be understood within the context of political and cultural life in New China. This paper explores the complicated relations between Hong Kong leftist cinema, domestic socialist cinema, and Shanghai left-wing cinema in the 1930s. In addition, it discusses The True Story ofAh Q as a film with features that identify it with both Hong Kong leftist cinema and New China cinema. Thus, the film＇s acceptibility is determined by the tensions between these two identifications.
文摘This paper presents a comparative analysis on Chen Yingzhen＇s ＂Wo de didi Kangxiong＂ （＂My brother Kangxiong＇） and Wang Shangyi＇s ＂Ye gezi de huanghun＂ （＂Wild pigeon＇s dusk＂） in the cultural-historical context of Taiwan in 1960s, in the aim of exploring the origin of ＂nihilism＂ which had been prevailed among Taiwan youth from 1950s to 196os. Furthermore, the paper reexamines the hidden but intimate relationship between modernism and left-wing intellectuals.
