Image Of Peasants Research Articles

The Images of Peasants in Modern and Contemporary Societies Depicted in Zhao Shuli’s Works

The Images of Peasants in Modern and Contemporary Societies Depicted in Zhao Shuli’s Works

The Nationalization of Patriotism in Russian Literature during the Crimean War: Institutions, Everyday Nationalism, and Images of Peasants

AbstractThis article explores the issue of Russian imperial nationalism in the early phase of its formation, namely the nationalization of patriotism in literature during the Crimean War, 1853–56. Using historical studies and theories of nationalism, the author shows how and why an acute discourse of a nationalistic experience of community uniting the elite with the common people arose in St. Petersburg society, theater, and literature. Drawing on many published and archival materials, the article describes the institutions of escalating nationalism (thick journals, newspapers, the Maritime Ministry, theater, salons, and circles), everyday rituals (wearing “Russian” clothes), and the images of peasants, who in the fiction of Aleksei Potekhin, Aleksei Pisemskii, Ivan Gorbunov, Ivan Turgenev, and Dmitrii Grigorovich acted as bearers of authentic “Russianness.” The growing popularity of these writers’ texts can be explained by the fact that they demonstratively linked the psychology and subjectivity of peasant characters with their ethnic identity. Contrary to official propaganda that portrayed peasants as loyal to the tsar, faith, and Fatherland, the new representation satisfied the demand of the elite and socially diverse theater audience for images of unity within a single national community and compensated for the disappointment of defeats at the front.

American Theme in Henryk Sienkiewicz’s and Grigori Machtet’s Works

The article examines the image of the “New World” and the problem of emigration in Henryk Sienkiewicz’s and Grigori Machtet’s “American” works. It is stated that the main historical and literary context of both authors is the ideology and philosophy of positivism. The similarity between the worldview of Sienkiewicz and Machtet is determined by the fact that both writers traveled to America, and the comprehension of themes considering American culture played a key role in their creative evolution. The image of America in “Letters from a Journey to America” by Sienkiewicz and “Travel Pictures” by Machtet are compared. Similarities and differences are found in the artistic interpretation of the image of an Indian in Senkevich’s “Sachem” and Mactet’s “Black Ingratitude”. The main attention is paid to the relationship between the theme of emigration and the problem of hope in the stories of Sienkiewicz “For Daily Bread “ and Machtet’s “Prodigal Son”. The author concludes that the difference between the analyzed works considering the plot is established by the social identity of the characters (the image of the intellectual in Machtet’s story and the images of peasants in Sienkiewicz’s tale). It is concluded that there is an antinomic relationship between the motif of hope as an integral part of human life and the statement of the hopelessness of the situation of peasants in America in the story by Sienkiewicz. Machtet’s story is also characterized by the motives of disappointment - the hero’s unfulfilled hopes for self-realization in America, and at the same time, the motives of revival of hope and finding the purpose of life in work on land. The ideological similarity of both texts is determined by the program of „economic patriotism” preached by the writers of the positivist direction.

The peasant paints: Minor painting and peasant cosmopolitics

This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.

Food culture and nostalgia in the Sannong video

This research reviews the rural nature of Chinese society and analyses the elements that engage viewers in the Sannong videos from this perspective. Urban dwellers, rural dwellers and rural migrants have all been greatly affected by rapid urbanisation. The hukou system has led to a dichotomy between urban and rural China and a stigmatised image of peasants and the countryside. In this environment, people lost their sense of belonging and became nostalgic. For the first time since the spread of social media to rural dwellers and rural migrants, peasant groups have had the opportunity to reconstruct the image of peasants and the countryside as the protagonists of a narrative. In this study, 10 videos were selected from each of the two distinctive video accounts to compare and analyse their content. The common features of the two accounts can be considered as the reason for the popularity of the Sannong videos. In addition to the fact that a large number of viewers like the Sannong videos, this phenomenon may reflect the plight of urbanisation in China.

라캉의 “실재”개념으로 읽는 중국 근,현대미술의 단면 - 농민․농민공형상을 중심으로

라캉의 “실재”개념으로 읽는 중국 근,현대미술의 단면 - 농민․농민공형상을 중심으로

HÌNH TƯỢNG NGƯỜI DÂN LAO ĐỘNG VÀ CUỘC SỐNG XÃ HỘI TRONG VĂN CHƯƠNG TÁC GIẢ NHÀ NHO ẨN DẬT

HÌNH TƯỢNG NGƯỜI DÂN LAO ĐỘNG VÀ CUỘC SỐNG XÃ HỘI TRONG VĂN CHƯƠNG TÁC GIẢ NHÀ NHO ẨN DẬT

Casting (Off) Their Stinking Airs: Chinese Intellectuals and Land Reform, 1946–52

After observing land reform in early 1951, Wu Jingchao (吴景潮 1901–68) was left with what he would soon describe as an “unforgettable memory”. Like so many of the images to emerge from the campaigns to restructure agrarian land holdings in revolutionary China, Wu Jingchao’s memory centered on a struggle meeting, in which class enemies were publicly denounced by their fellow villagers. The climax of the meeting occurred when a peasant jumped onto the struggle stage, “ripped off his shirt and began beating on his chest”, before grabbing a landlord by the collar and pointing accusingly in his face. Wu’s tale serves as a useful entry point into questioning and problematizing standard images of land reform, for such images of peasants and landlords, freshly labeled by the Chinese Communist Party (CCP), inform common understandings of the campaigns. However, focusing only on the scene itself neglects the crucial role played by the observer and narrator, Qinghua University professor of sociology Wu Jingchao. In her seminal text, Literary Dissent in Communist China, Merle Goldman has suggested that the land reform campaigns affected Chinese intellectuals only indirectly. In contrast, this article will argue that China’s educated elite were of crucial importance to land reform, as vast numbers of them would, like Wu Jingchao,

A Research of The Image of Peasants and the nation in Modern Korean Peasants fictions -with a focus on the web of social connections at Tuman River and Arirang-

A Research of The Image of Peasants and the nation in Modern Korean Peasants fictions -with a focus on the web of social connections at Tuman River and Arirang-

A Research of The Image of Peasants and the nation in Modern Korean Peasants fictions -with a focus on the web of social connections at Tuman River and Arirang-

A Research of The Image of Peasants and the nation in Modern Korean Peasants fictions -with a focus on the web of social connections at Tuman River and Arirang-

Labeur and Paresse: Ideological Representations of Medieval Peasant Labor

Images of peasants laboring in medieval Calendar cycles are here contrasted not only with images of the pastimes of the aristocracy, but with images of the idle peasant. This makes clear the ideological function within later medieval society of the Calendar cycle. In particular, the negative images of the peasants in the Tres Riches Heures of Jean, Duc de Berry, are argued to embody a shift in attitude, which has a historical context in the economic and social crises of the fourteenth and early fifteenth centuries.