Chinese Literature and Culture in the Age of Global Capitalism: Renaissance or Rehabilitation? by Wang Xiaoping

Abstract

Reviewed by: Chinese Literature and Culture in the Age of Global Capitalism: Renaissance or Rehabilitation? by Wang Xiaoping Gal Gvili Wang Xiaoping. Chinese Literature and Culture in the Age of Global Capitalism: Renaissance or Rehabilitation? Leiden and Boston: Brill. 2021. Pp. x+388. US$167.00 hardcover, US$167.00 ebook. Wang Xiaoping is a prolific scholar of modern and contemporary Chinese literature, [End Page 568] cinema, and culture and a keen observer and interpreter of contemporary academic debates in China. In English alone, Wang has published four books and numerous articles, and his output in Chinese far surpasses these numbers. In Chinese Literature and Culture in the Age of Global Capitalism, Wang embarks upon an ambitious endeavour: mapping the contours, the premises, and the impetus fueling Chinese literature, cinema, and cultural criticism from 1976 to the present. Wang reads poetry, films, short and long fiction, as well as a robust set of critical works in English and Chinese that all, in his thesis, engage an acute identity crisis China has been facing. Namely, Wang investigates literature, culture, and academic debates to search for an answer to the question: what constitutes Chineseness in the current era, in which China is both a Communist country and a major player in global capitalism? The answer is given through an extensive discussion and close readings of Chinese new poetry, 1980s Avant Garde Fiction, 1990s Historical Fiction, Six Generation Cinema, and critical essays and books by thinkers associated with the Chinese New Left and Liberal camps. Wang argues that Chineseness today is refracted in cultural texts as a dialectic between a socialist consciousness that harks back to the Mao era while looking forward to envision new possibilities, and a liberal mentality that draws upon both the Chinese pre-modern, mostly Confucian ethos and Western liberalism to forge a future for the Chinese nation. In a dense analytical narrative, Wang moves chronologically from the late 1970s to contemporary times, and examines each cultural phenomenon by loosely employing Raymond Williams’s concept of Three Cultures. Williams suggested, as early as the late 1950s, that the complex dynamic underscoring national cultures can be understood as a dynamic of triangulation between the dominant hegemonic culture, residual culture-a culture of a previous age that resides within the dominant national culture either as a fortification of or as a disruption to its values-and an emergent culture that generates new social structures and values and thus becomes a new force that challenges dominant culture. Wang adopts this framework for one main use: detecting residues of socialist culture in poetry, fiction, and cinema that had often been misread, in his view, as emblems of a new “free” expression that the end of the Mao era supposedly enabled. In the impressive array of texts examined, Wang identifies a slow “disappearance of idealism” (18) that nevertheless remains a fait accompli. Socialist themes, aesthetics, and value continually inform Chinese language literature and cinema even though they have diminished over the years. Juxtaposing, for example, in Chapters Six and Seven, the films Dirt (Toufa luanle 頭髮亂了, 1992) and The Making of Steel (Zhangda chengren 长大成人, 1997) with Lust/Caution (Se/Jie 色戒, 2007) demonstrates how, in Wang’s reading, even as thematic eulogizing of the revolutionary generation made way for more so-called universal engagement with espionage and sex, residues of the CCP/KMT conflict, with their radically different ideologies, still shaped the artistry and the reception of Ang Lee’s 2007 work. Indeed, as Wang states in the opening pages of the introduction, this academic study promotes a political agenda, which is calling for a “socialist re-orientation” [End Page 569] (313) that could carry forward, revitalized, the values of China’s socialist revolution. One way to move in this direction, this book suggests, is by revisiting contemporary culture and reading it through a lens that is sensitive to socialist undercurrents: While China’s postsocialism is, to a certain extent, characterized by pragmatism-a political principle practiced by Chinese politicians in the post Mao period in general, as well as the living conditions and life philosophy followed by the Chinese populace in their daily activities in particular-we must still pay close attention to...