Gu Hongming';s Cultural Conservatism in Modern Chinese Thoughts

2017 ◽  
Vol 106 ◽  
pp. 95-122
Author(s):  
Soo Young Kim
Keyword(s):  
Modern Chinese ◽  
Cultural Conservatism

Nationalism and Modernity: The Politics of Cultural Conservatism in Republican China

2009 ◽  
Vol 43 (3) ◽  
pp. 777-813 ◽  
Author(s):  
EDMUND S. K. FUNG
Keyword(s):  
Cultural Nationalism ◽  
The Political ◽  
Republican China ◽  
Cultural Perspective ◽  
Cultural Reconstruction ◽  
Modern Chinese ◽  
Cultural Conservatism ◽  
Zhang Junmai ◽  
Liang Shuming ◽  
Party State

AbstractThis article explores the political dynamics of modern Chinese cultural conservatism. It proceeds from the premise that modern Chinese conservatism, as distinct from traditionalism, was a response to modernity and, as such, a part of modernity. The article identifies the conservative with the nationalist, but not vice versa, and understands politico-cultural conservatism as politico-cultural nationalism. It will first trace the rise of modern Chinese conservative thought, revisit the ideas of two noted cultural conservatives Liang Shuming and Zhang Junmai, examine the politics of China-based cultural reconstruction, and then explore the conservative thought of the war period (1937–1945) to illustrate the interplay of war, culture and nationalism. It argues, basically, that although the conservatives did not defend the prevailing socio-political order as a whole, their understanding of politics from a cultural perspective was nuanced and that they stood in an ambiguous relationship with the existing regime and the party-state.

No ‘Help to the Imagination’: Kate O'Brien and the Emergency

2018 ◽  
Vol 48 (1) ◽  
pp. 97-112
Author(s):  
Anna Teekell
Keyword(s):  
Complex Space ◽  
Coercive Power ◽  
Cultural Conservatism ◽  
Kate O'brien ◽  
The Individual ◽  
Love Triangle

Kate O'Brien's 1943 The Last of Summer has been read as the novelist's riposte to an insular island that stifled both her publishing (through censorship) and her imagination (through cultural conservatism). Set on the eve of the neutral ‘Emergency’, O'Brien's sixth novel actually depicts Ireland as a complex space of negotiation, simultaneously desirable and condemnable, that challenges, rather than stifles, the individual imagination. The Last of Summer is a love triangle and a battle of wits, pitching a stage actress, the French ingénue Angèle, against an accomplished domestic performer, her potential mother-in-law, Hannah Kernahan. In the end, it is Hannah who wields ‘neutrality’ – both Ireland's in the war and her pretended neutrality in family matters – as a form of coercive power.

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