Internationalist aesthetics: China and early Soviet culture
"While the Third Communist International (Comintern) supported nationalist revolution in China, Soviet writers and film-makers traveled to China, met with Chinese students in Moscow, and sought to reimagine China for a Soviet audience as the next site of world revolution. Their artistic experim...
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| Zusammenfassung: | "While the Third Communist International (Comintern) supported nationalist revolution in China, Soviet writers and film-makers traveled to China, met with Chinese students in Moscow, and sought to reimagine China for a Soviet audience as the next site of world revolution. Their artistic experiments constituted a search for an "internationalist aesthetics": a mode of representation that could overcome the exoticism of imperialist culture and produce transnational sympathies between populations previously considered culturally distant. Contributing to a recent cultural turn in the study of socialist internationalism, Internationalist Aesthetics positions China in the 1920s as the central space for Soviet culture's attempt to imagine how internationalism was supposed to look and feel. Tyerman traces the reimagining of China through the multiple genres and media of the early Soviet cultural system, including reportage, film, theater, and biography. This account offers new insight into the transnational dynamics that shaped Soviet culture and socialist aesthetics, and illuminates a crucial chapter in Sino-Russian relations, one of the most significant international relationships of the twentieth and twenty-first centuries"-- |
| Beschreibung: | xi, 353 Seiten Illustrationen |
| ISBN: | 9780231199193 9780231199186 |
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| 505 | 8 | |a Introduction: China and early Soviet culture -- Sight, sound, and similarity: Soviet writers travel to China -- Translating China onstage: Roar, China! and The red poppy -- Through an internationalist lens: China in early Soviet cinema -- Confessions and collaborations: authority, agency, agency and factographic internationalism in Den Shi-khua -- Epilogue: International literature, national form, and missed connections | |
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Datensatz im Suchindex
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CONTENTS Acknowledgments ix INTRODUCTION: CHINA AND EARLY SOVIET CULTURE 1. SIGHT, SOUND, AND SIMILARITY: SOVIET WRITERS TRAVEL TO CHINA 37 2. TRANSLATING CHINA ONSTAGE: ROAR, CHINA! AND THE RED POPPY 85 3. THROUGH AN INTERNATIONALIST LENS: CHINA IN EARLY SOVIET CINEMA 134 4. CONFESSIONS AND COLLABORATIONS: AUTHORITY, AGENCY AND FACTOGRAPHIC INTERNATIONALISM IN DEN SHI-KHUA 187 EPILOGUE: INTERNATIONAL LITERATURE, NATIONAL FORM, AND MISSED CONNECTIONS Notes 247 Bibliography and Sources Index 333 309 231 1
BIBLIOGRAPHY AND SOURCES ARCHIVAL SOURCES In references to materials from Muzei kino, RGALI, and RGASPI, “f.” stands for “fond” (an archival collection pertaining to a specific person or an institution), “o.” for “opis’” (catalogued subsection of the collection), “ed. khr.” for “edinenie khraneniia” (individual file in the collection), and “1.” for “list” (page number). “Ob.” stands for “oborot” (the reverse side of the page). In references to materials from the A. A. Bakhrushin Central State Theater Museum, “f.” stands for “fond,” and “n.” for “nomer” (number). In references to materials from TsGALI, “f.” stands for “fond,” “o.” for “opis,”’ d. for “delo” (individual file in the collection), and “1.” for “list.” In references to materials for RGAKFD, “N. Uchetnyi” refers to “cata log number.” Arkhiv Mariinskogo teatra (Archive of the Mariinsky Theater), St. Petersburg. Gosudarstvennyi tsentral’nyi muzei imeni A. A. Bakhrushina (A. A. Bakhrushin Central State Theater Museum), Moscow. Muzei Boľshogo teatra (Bolshoi Theater Museum), Moscow. Muzei kino (Museum of Cinema), Moscow. RGAKFD: Rossiiskii gosudarstvennyi arkhiv kinofotodokumentov (Russian State Archive of Documentary Film and Photography), Moscow. RGALI: Rossiiskii gosudarstvennyi arkhiv literatury і iskusstva (Russian State Archive of Literature and the Arts), Moscow.
310 BIBLIOGRAPHY AND SOURCES RGASPI: Rossiiskii gosudarstvennyi arkhiv sotsiaľno-politicheskoi istorii (Russian State Archive of Sočiai and Political History), Moscow. TsGALI: Tsentraľnyi gosudarstvennyi arkhiv iiteratury і iskusstva (Central State Archive of Literature and the Arts), St. Petersburg. MAGAZINES AND NEWSPAPERS China Weekly Review. Shanghai: Millard Publishing House, 1923-1950. Internatsional’naia literatura. Moscow: Gosudarstvennoe izdatelstvo khudozhestvennoi litera tury, 1933-1943Izvestiia. Moscow: 1917-. Kino-gazeta, renamed Kino in 1925. Moscow: Kino-izdatel’stvo RSFSR, 1923-1941. Kinozhurnal ARK, renamed Kino-Front in 1926. Moscow: Assotsiatsiia revoliutsionnykh kinematografistov/Kinopechať, 1925-1928. Komsomol'skaia Pravda. Moscow: TSK VLKSM, 1925-. Literatura mirovoi revoliutsii. Moscow: Gosudarstvennoe izdateľstvo khudozhestvennoi Iiteratury, 1931-1932. Mínguo ribao й S 0 Ій. Shanghai: Minguo ribao she, 1916-1932. New York Herald Tribune. New York: New York Tribune, Inc., 1926-1966. New York Hmes. New York: H. J. Raymond, 1857-. North China Daily News. Shanghai: North-China Herald, 1864-1951. North-China Herald. Shanghai: H. Shearman, 1850-1941. Peking and Tientsin Times. Tianjin: Tientsin Press, 1894-1941. Pravda. St. Petersburg, Moscow: Kommunisticheskaia partila Rossiiskoi Federatsii, 1912Programmygosudarstvennykh akademicheskikh teatrov. Moscow: Kinopechať RSFSR, 1925-1928. Prozhektor. Moscow: Izd-vo Pravda, 1923-1935. Rabochit. Minsk: Tsentraľnyi komitet Kommunísticheskoi partii Belorussii, 1927-1937. Severny։ rabochit. Yaroslavl: Iaroslavskii
Gubkom VKP(b), 1922-1991. Shen bao Ψϋχ. Shanghai: Shen bao she, 1872-1949. Sichuan ribao 0ЛІ ВШ. Chengdu: Sichuan ribao she, 1900s-. Sovetsku ekran. Moscow. Kino-izd-vo RSFSR, 1925-1929. Sovetskoe kino. Moscow: Izd-vo Avangarda, 1925-1928. The Times. London: Times Newspapers Ltd., 1788-. Trud. Moscow: Soviet Vseobshchei konfederatsii professional’nykh soiuzov, 1921-. Vecherniaia Moskva. Moscow: Moskovskii gorodskoi komitet KPSS, 1923-. Vestnik inostrannoi Iiteratury. Moscow: Gosudarstvennoe izdatel’sto, 1928-1930. Washington Post. Washington, DC: Washington Post, 1S77-. Wenyi xunkan 1923-1924. ľfcÍHtJŤ'J [later Wenyi zhoukan ՅէՍ ЛИТІЇ]. Zhizn՝ iskusstva. Leningrad: Tea-Kino-Pechati, 1918-1929. Shanghai: Minguo ribao she,
BIBLIOGRAPHY AND SOURCES 311 FILMOGRAPHY Animated Soviet Propaganda: From the October Revolution to Perestroika. DVD. Studio City, CA: Jove Film Distribution, 2006. Berlin: Die Sinfonie der Großstadt. Directed by Walter Ruttmann. Fox Europa, 1927. Chelovek s kinoapparatom. Directed by Dziga Vertov. VUFKU, 1929. Chetyresta millionov (Dzhou De-shen). Directed by V. Gardin. Screenplay by V. Gardin, la. Babushkin. Belgoskino and Vostokkino, 1928. Goluboi ekspress. Directed by Iľia Trauberg. Screenplay by Leonid Ierokhonov. Sovkino Leningrad, 1929. Kitaiskaia mel’nitsa. Directed by A. Levshin. Screenplay by Isaak Babel’. Sovkino, 1928. Kitai v ogne. Gosudarstvennyi tekhnikum kinematografií—GTK: Z. Komissarenko, N. Maksimov, lu. Merkulovand N. Khodataev, 1925. Moskva. Directed by Mikhail Kaufman. Sovkino, 1927. Piat’ minut. Written and directed by A. Balagin and G. Zelondzhev-Shipov. Goskinprom Gruzii, 1929. Pod nebom drevnikh pustyń’. Directed by Vladimir Shneiderov and Qin Zhen W-Յֆ. Screenplay by Shneiderov and Vladimir Kreps. Moskovskaia kinostudija naucho-populiarnykh ffl’mov and Shanghai kexue jiaoyu dianying zhipianchang, 1958. Shankhaiskii dokument. Directed by Iakov Bliokh. Cameraman V. L. Stepanov. Sovkino, 1928. Velikii perelet. Directed by Vladimir Shneiderov. Cameraman Georgii Blium. Proletkino, 1925. BOOKS AND ARTICLES Aksakov, Sergei Timofeevich. Sóbrame sochinenii. Voi. 1. Moscow: Khudozhestvennaia litera tura, 1986. Alekseev, M. Sovetskaia voennaia razvedkavKitae і khronika “kitaiskoi smut/’ 1922-1929. Moscow: Kuchkovo pole, 2010. Alekseev, Vasilii Mikhailovich.
Nauta 0 Vostoke. Moscow: Nauka, 1982. Alpers, Boris Vladimirovich. Teatr sotsial’noi maski. Moscow: Gosudarstvennoe izdatel’stvo khudozhestvennoi literatury, 1931. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of National ism. London: Verso, 1983. Anderson, Kevin B. Marx at the Margins: On Nationalism, Ethnicity, and Non-Western Societies. Chicago: University of Chicago Press, 2010. Arkin, Lisa C„ and Marian Smith. “National Dance in the Romantic Ballet.” In Rethinking the Sylph: New Perspectives on the Romantic Ballet, ed. Lynn Garafola, 11-68. Hanover, NH: Uni versity Press of New England, 1997. Arsen’ev, Pavel, and Aleksei Kosykh. “Kitaiskoe puteshestvie S. Tret’iakova: poeticheskii zakhvat deistvitel’nosti na puti к literature fakta.” Translit 10-11 (2012): 14-20.
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INDEX aesthetics: aesthetic debates of the 1920s, 5; and “distribution of the sensible,” 20; and exoticism, 27 (see also exoticism); and political consciousness, 24; Rancière and, 20; realism (see realism; Socialist Realism); and smoothness/transparency vs. process/madeness, 31-32; and Soviet avant-garde, 21; theatrical chinoiserie, 87,114,116-18; and trade sounds, 56-57 (see also “Roar China”); and Tretyakovs “Beijing,” 48-50. See also internationalist aesthetics Aksakov, Sergei, 116,131 Alekseev, Vasily Mikhailovich, 26,117 “Alienation Effects in Chinese Acting” (Brecht), 240 alienation or estrangement effects, 218-22, 240-41,306Ո45 All-Union Society for Cultural Relations with Foreign Countries (VOKS), 66, 122-23,240 Almaty-Lanzhou railway, 245-46 anti-imperialism: and China on Fire (1925 film), 137,140; and Christianity, 108; and May Thirtieth movement, 166; and The Red Poppy (ballet), 115; and role of opium in Chinese history, 121-23; and Soviet films exported to Chinese audiences, 160-61; and Tretyakov’s Roar, China!, 83,95,108,110 anti-Semitism, 139 Appiah, Kwame Anthony, 106 Apter, Emily, 106 Armoured Train 14-69 (Ivanov), 129 Around Uzbekistan (1925 film), 147 art, 248Ո9; Creative Society advocation of “art for art’s sake,” 77; Pilnyak’s affirmation of art’s autonomy from politics, 65; and political consciousness, 23-24. See also aesthetics; ballet; cinema; internationalist aesthetics; literature, Chinese; literature, Russian; music; poetry; Socialist Realism; theater “Art as Device” (Shklovsky), 210 Aseev, Nikolai, 22 autobiography: confessional autobiographies,
189-90,202-8, 226-27; and Marxism, 203; and overcoming automatization through factographic writing, 210-14; and the “referential pact” with readers
334 autobiography (Continued) (Lejeune’s concept), 195; and “roadto-consciousness” narratives, 190,195; and Soviet assessment and surveillance of university students, 204-6; as tool for producing subjectivity, 34,190, 203; and unmasking, 226-27. See also bio-interview automatization, and autobiography, 210-14 aviation, 144-57,284Ո25,285Ո46,286Ո70 Avshalamov, Aaron, 57 “Awakening of Asia” (Lenin), 12-13, 233 Azoulay, Ariella, 154-55 Babanova, Maria, 98,99,100,273Ո69 Babel, Isaac, 34,143,182-85, 244 Badmaev, Petr, 15 Baer, Brian James, 275Ո112 Ba Jin, 8 Bakhtin, Mikhail, 32,142-44,230 ballet: and documentary impulse toward China, 7; drambalet as dominant mode of Soviet ballet, 113-14,121; early Soviet distaste for, 89; prerevolutionary traditions expressing revolutionary themes, 115-20; The Red Poppy (see The Red Poppy); and symbolic dream device, 114. See ako specific ballets Banerjee, Anindita, 144 Bao, Weihong, 160,174 Battleship Potemkin (1925 film), 83-84,134, 160,162,166,268Ո204, 288Ո93 La Bayadère (ballet), 114,116 Beijing: Franck on, 261Ո65; and the Great Flight (1925), 147; and The Great Flight (1926 film), 151; Ivin on, 54-55; Li Dazhao on, 54; Pilnyak and, 68; soundscape of, 56-57; as space of temporal contradictions, 52,54-55; Tretyakovs sketch of, 47-54, so, S3 “Beijing Enraged” (Tretyakov article), 44 Beijing Opera, 240,241,245 “Beijing” (Tretyakov article), 47-54,50,53 INDEX Beijing University, 16; Gao Shihua and, 187, 188,194-95,2°5,220-21,226; Ivin and, 55, 195; Tretyakov and, 5,22,41-43,195,258Ո17 Belgoskino, 168 Belinsky, Vissarion, 15,300Ո154 Belousov,
Roman, 292m Bely, Andrei, 15, 67 Benjamin, Walter, 21,72 Benois, Alexandre, 87 Benveniste, Émile, 213, 299Ш12 Berlin; Symphony of a Metropolis (1927 film), 172 Berstl, Julius, 86 Beskin, Emmanuil. See Famarín, К. “Best Verse, The” (Mayakovsky), 1-3,7,14 Bianco, Lucien, 9 bio-interview: Tretyakov’s bio-interview with Gao Shihua (see Den Shi-khua); Tretyakov’s second bio-interview (unfinished), 243 Bliokh, Yakov, 168,169,171,172,176 Bliukher, Lev, 244 Blium, Georgy, 145,150,151,153,155,156 Bloch, Ernst, 52 Blok, Aleksandr, 66 Blue Express, The (1929 film), 168-69 Blue Express, The (part of trilogy). See under Dzhungo Blyukher, Vasily, 13 Bogdanov, Aleksandr, 23 Bolshoi Theater, 32-33,89-90,121. See also Red Poppy, The Borenstein, Eliot, 282Ո234 Borodin, Mikhail, 13,14,153,162,231,244 Bourdieu, Pierre, 248Ո9 Boym, Svetlana, 83 Brecht, Bertolt, 9, 86,218,240-41,249Ո27, 306Ո45 Brik, Osip, 21,37 Bronze idol, The (Pavlov play), 86 Buck, Pearl, 304Ո20 Bukharin, Nikolai, 98 Bulgakov, Mikhail, 107,275Ո117 Burlaki na Volge (Repin painting), 74
INDEX 335 Burliuk, David, 22 Bushell, Stephen W., 125,127 35 (see also national form, concept of); Nationalist split from CCP, 4, 8,168,169, Canton. See Guangzhou Canton Uprising (1927), 14,41,168,290Ո124 187,232-33; national self-consciousness, 167; New Culture movement, 8,12,18, 241; Opium Wars, 33,92,121-22 (see also Cao Jinghua, 8,234,292м Caucasian Chalk Circle (Brecht play), 86 Cavalcanti, Alberto, 171 CCP. See Chinese Communist Party Chaadaev, Petr, 15 Chalk Circle, The (play), 86,87, 89,116 Chan, Roy, 129 Chapaev (1934 film), 167,234 Chekhov, Anton, 197, 209,297Ո92 Chen, Jeffrey, 299Ո129 opium); Qing Empire, 11-12; Russian expansion into Manchuria, 13,104,122; semicolonial condition, 6,11,136,142-43, 151-53,166-67,232; Shanghai uprising of March 1927,1,4,14,175-77,223; sounds of (see sounds of China); Soviet intervention in internal politics, 4, 8,13,41; Soviet socialism as model for, 8,10-11,80; Stalin and, 14 (see abo Stalin, Joseph); and traditional culture/”backwardness,” Chen Bao (newspaper), 40 12,17-18,33,66,71,150-51,153,156,166, Chen Boda, 121,122 Chen Duxiu, 12,297Ո81 Cheng Jihua, 268Ո204,288Ո93 235,242,245; treaty ports, 12; Chiang Kai-shek, 13,14,176,204,223 China: alterity of, and Western thought, 9 (see aho exoticism); Canton Uprising (1927), 14,41,168,290Ո124; CCP victory in Chinese Civil War (1949), 35,244; 11,193,194· See abo Chinese Communist Party; Chinese language; Guomindang; literature, Chinese; Peoples Republic of China; Russian views of China; SinoSoviet relations; specific cities Chinese Communist Revolution, 35,121; Chinese revolutionaries
educated in the Soviet Union, 8,13 (see also Communist University for the Workers of the East; Sun Yat-sen University for the Workers of China); Civil War, 35,148--49, 244; cosmopolitan quality of intellectual life in the 1920S, 80; diplomatic relations with Soviet Union established, 13,146; China on Fire (1925 film), 136-42,138-41,161, 161-62,283П10 distinctive revolutionary path, 35,182, 233,245-46; Great Leap Forward, 245; history of China as global signifier, 8-9; Japanese invasion, 189,233,235; Lenin and, 12-13 (see abo Lenin, Vladimir); Lincheng incident (1923), 165; May Fourth movement, 8,78,79,166,209,298Ո99; May Thirtieth movement, 8,146,153, 165-66; and modernity (see modernity); national form of the Chinese Revolution, and uneven development, 9,39,52,54-55,82,151-53, 260Ո61; Xinhai Revolution (1911-1912), China Roars. See under Lķhungo Chinese Art (Bushell), 125,127 Chinese Communist Party (CCP), 182; alliance with Guomindang, 4,13,233; and Comintern agents, 251Ո51; founding of, 13; Gao Shihua and, 196,203-4,225, 228,301Ո174; and opium use, 122; and The Red Poppy (ballet), 121-23; split from Guomindang, 4,8,168,169,187,232-33; victory in Chinese Civil War (1949), 35, 244 Chinese language: Ivins recommendations for language study, 18,20; language limitations bypassed in Tretyakovs “Roar China,” 32,65; linguistic choices in Tretyakovs Roar, China!, 103-10; not spoken by Tretyakov, 44. See abo Chinese Pidgin Russian; translation
336 Chinese Mill, The (1928 film), 34,143,181-86 Chinese Novellas (Tarkhanov), 231-33 Chinese Pidgin Russian, 104-9,275Ո102 Chinese Socialist Youth League, 205,297Ո81 “Chinese Story” (Pilnyak), 16,32,39,67-76, 80-83 Chinnery, Colin Siyuan, 261Ո84,262Ո99 Choibalsan, Khorloogiin, 150 Chow, Rey, 167 Christianity, 96-97,108 chronotope: and cinema, 142-43; and city symphony genre, 172; definition of, 142-43; and The Great Flight, 151,158; and Pilnyak’s “Chinese Story,” 68-69; and Shanghai Document, 171,174; and Tretyakov’s “Beijing,” 48,54,68 Chu-lun-Vai (translation of Berstl play), 86 Chukovsky, Kornei, 215 Chuzhak, Nikolai, 40-41,43,257Ո9 Chzhungo (Tretyakov), 16, 22, 42-47,45,46, 70-71, 259Ո42; introduction (“Loving China” essay), 25-27. See also specific sketches cinema, 29,33-34,134-86; agitational cinema, INDEX and seen, 136-37; and internationalist aesthetics, 134-35,14Յ, 159-60,186; intertitles, 155,160,169; Lenin on, 29; as medium for internationalist connection, 33-34,84,134.135.136,154-55.162,171. 184; and montage (see montage); Pilnyak’s failed cinematic collaboration with Tian Han and Jiang Guangci (see Go to the People); revolutionary melodrama (see Dzhungo); Sino-Soviet collaborations of the 1950s, 245-46; and Soviet centerperiphery relations, 135; Soviet films exported to international audiences, 83,160,181-82; and superiority of the “cine-eye” over the human eye, 173-74; transnational system of film production, 160; Tretyakov’s hopes for, 134-35. 242; unrealized Dzhungo project (see Dzhungo)·, US. films, 160-61. See also specific films “Cinema and China”
(Tretyakov article), 134-35 city symphony film genre, 171-74 Clark, Katerina, 190, 254Ш03,258Ո17 136-37,162,163; and center-periphery relations, 151; Chinese audiences for class consciousness. See proletarians/ laborers; revolution and revolutionary consciousness Soviet films, 83, 84,136,143,160-62, 167-68,234; Chinese film industry, 160, collaborative authorship, 35,38,44-45; collaborative autobiography (“bio 234; and chronotopes (see chronotope); cinematic affect, 143,163-64,176, interview”) (see Den Shi-khua); and Romm’s translations of Xiao San’s poetry, 183-85; cinematic gaze theory, 136; city symphony genre, 171-74; combination of documentary and fictional film, 158 (see 35, 237-39; and training Gao Shihua as also Dzhungo); comedy, 34,134,182,185; culture films, 147,158; and documentary impulse toward China, 7,143,158 (see also Dzhungo); expedition films, 146-47, 153,169,170-71,245-46 (see also The Great Flight·, Shanghai Document); “face to face” encounters with China through cinema, 135,136,139,143,154-55,184; and imagined geography of new Soviet identity, 135,137,147; imbalance of seer factographer, 209-14; and translation issues, 35,44-45,214-18 colonialism, 3, 247Ո6; China as a semicolonial space, 6,11,136,142-43, 151—53,166-67,232 (see also Shanghai Document); Comintern and, 3; Lenin and, 3,11,142,146 comedy, 34,143,182,185. See also Chinese Mill, The Comintern (Third Communist International), 13-14,249Ո18; and China as a “semicolonial” country, 12; and
INDEX 337 colonized and semi-colonized countries, 218-19; collaboration process, 191,196-98, 3, n; Comintern agents in China, 16,41, 207-8,210-14,220-21,292Ո4; compared to other Soviet fictional narratives and confessional autobiographies, 190-94, 231,251Ո47,251Ո51 (see also Borodin, Mikhail; Voitinsky, Grigory); defeat of Comintern policy in China, 14,35, 41; dissolution by Stalin (1943), 35; and Dzhungo (unmade film trilogy), 166; and the Great Flight (1925), 146; intervention in Chinas internal politics, 4, 8,13-14; model of world revolution, 10-11; political project of internationalism, 5, 21,31 (see also internationalism; internationalist aesthetics); relationship with Guomindang, 213,231-33 (see also under Guomindang); split from Nationalists (see under Sino-Soviet relations); and tension between centripetal and centrifugal forces, 7-10; turn to Asia, 3-4,11 Communist Manifesto, The (Marx and Engels), 3 Communist University for the Workers of the 202-3; and confessional autobiography, 202-8,226-27; critics’ responses, 198,207, 225; and education at the level of utterance and the level of enunciation, 213; ending of, 191,195,223,227,229; and ethnography, 188,194,195,212-13; and exoticism, 214; explanation of protagonist’s name, 211-12; and forms of agency, 208,214, 226,229; and internationalism, 208, 212,230; and internationalist aesthetics, 191, 230; lack of attention to internal psychology, 207-8,226,229,297Ո87; and the “literature of fact” or “factographyj’ 188,191,199,201-2,207; and montage, 199-201,200,230; narrative described, 193՜95,204-5; as narrative of
political East (KUTV), 8,44,233-34 Compendium ofModern Chinese Literature, A (Zhao Jiabi), 209 education, 188,194-95,204-5,213,228-29; narrative structure, 195,201; postscript, 223-30; power dynamic in collaboration confessional autobiographies, 189-90,202-8, 226-27 Le Corsaire (ballet), 116 Craig, Gordon, 240 process, 191,196-97,202,206-7,226; and readers awareness of mediation, 219-20; and the “referential pact” with readers (Lejeune’s concept), 195-96; reliability of Gao Shihua’s narrative, 219-20,224-29; and reshaping interviewer, interviewee, and reader, 208-23; role in mediating between Russia and China, 188-89; Crane, Robert, 106 Creation Society, 77 Dalin, Sergei, 38,256Ո4 de Certeau, Michel, 173-74 de Mille, Cecil В., ići Deng Xiaoping, 8 Den Shi-khua (Tretyakov collaborative timing of publication, 188-89,293Ո10; and Tin Iuin-pin’s testimony, 224-29; and training Gao Shihua as factographer, 209-14; and training the active reader, biography), 22-23,34-35.69,83,187-230, 214-23; transfer of narratorial power to 265Ո140,297Ո81; and alienation effects, Tretyakov, 221-23; translation issues, 218-22; beginning of, 211-12; as “bio 214-18,299Ո129; Tretyakovs appearance interview,” 188,189, 192, 195-98, 201-2, in the narrative, 205,220-22; Tretyakovs authorial mediation, 198-99,201,219-20; Tretyakov’s introductions, 191,192,195-97, 201-2,206-7,210-11,295Ո47. See abo Gao Shihua 206-8,211-14,221-22,229; bio-interview as mode of education and factographic training, 208-14; “bio-photograph,” 199201,200,296Ո54; choice of present tense,
338 development, uneven, 9,39, 52,54-55,82, 151-53, 173։ 2боп6і Dikii, Aleksei, 114 Ding Ling, 235 Ding Wenan, 224,300Ո154 Dobrenko, Evgeny, 294Ո24 documentary principles as “literature of fact”: and biographical narrative, 198 (see also Den Shi-khua)·, Chinese reportage on the Soviet Union, 40; and deniability, 228; “documentary moment” in early Soviet culture, 2,40-41; documentary principles as “literature of fact,” 6-7,30-31,40-41,163 (see aho “factography”/”literature of fact”); and Dzhungo (unmade film trilogy), 158, 163-65; and early Soviet films, 33-34; and The Great Flight (1926), 158 (see also The Great Flight)·, and Pilnyak’s “Chinese Story,” 67-68,70; Tretyakov and documentary reportage, 26-27,30-31,37-38,40-45. 47-55.158 (see aho specific works)·, and Tretyakovs “Roar China,” 58,61. See also Chinese Mill, The; Chzhungo; Dzhungo; Great Flight, The; Shanghai Document Dong, Xinyu, 177,179 drambalet, 113-14,121 dubinushka, 73-74 Dzhabaev, Dzhambul, 240 Dzhungo (unmade film trilogy), 22,33-34, 134,143,158-67,288Ո93; The Blue Express, 159.165; and conflict between story and material, 167; and documentary reportage, 143,163-65; and ethnographic authenticity, 166-67; intended audiences, 143,160,162,167; and internationalist aesthetics, 159-60; intertitles, 160; participants in proposed expedition, 159; The Pearl River/China Roars, 159,165-66; pedagogical aspirations of project, 162, 163; plot summaries and topics planned, 159.163-67,288Ո103; reasons for not completing project, 163; and revolution, 164; The Yellow Peril, 159,164-65 INDEX Earth Upturned (Meyerhold
production), 102 Eisenstein, Sergei, 9; and Battleship Potemkin (1925 film), 83-84,134; and Chinese theater, 241; collaboration with Tretyakov, 22,33-34, 84, 85, 89,134; and Dzhungo (unmade film trilogy), 22,33-34,159,162,163, 288Ո103; and emotion in cinema, 163,176; Mei Lanfang and, 240; as member of the Soviet avant-garde/LEF, 21; and montage theory, 170; Que Viva Mexico, 162; “The Magician of the Pear Orchard,” 240; and Tretyakov’s Gas Masks, 89 Ekk, Nikolai, 167 Eleventh Year (Vertov film), 169 Emi Siao. See Xiao San emotion: and The Chinese Mill (1928 film), 183-85; cinematic affect, 143,163-64, 176,183-85; and Dzhungo (unmade film trilogy), 163-64; Eisenstein and, 163,176; role of emotion/sensation in organizing consciousness, 7,10,23-24; and Shanghai Document (1928 film), 176; Tretyakov and, 23-24,163-64,176 Engels, Friedrich, 3 Erdberg, Oskar, 231-32. See also Tarkhanov, Oskar Erdman, Nikolai, 102 Esmeir, Samēra, 31 estrangement effect. See alienation or estrangement effects ethnography, 43-44; and Den Shi-khua (collaborative autobiography), 188,194, 195,212-13; and Dzhungo (unmade film trilogy), 166-67; ethnographic naturalism and Roar, China!, 89, 100-110; and The Great Flight (1926 film), 150-51; Malinowski and, 44; and Shanghai Document (1928 film), 174; Tretyakov’s Marxist ethnography, 43-44 Eurasianism, 66-67,73 Eurocentrism, 4,15,17-18 Evreinov, Nikolai, 89
INDEX exoticism, 24-27; and China-themed plays of the 1920s, 86-88; and Chinese Novellas, 232; and Den Shi-khua (collaborative 339 Frigate Pallada (Goncharov), 49 Frunze, Mihkail Vasilevich, 65 Futurists, 60-62 autobiography), 214; “French exotic,” 25-26; and The Great Flight (1926 film), 150-51; and Ivin’s “Revolutionary Beijing,” 54-55; and Pilnyak’s “Chinese Story,” 70; and The Red Poppy (ballet), 112,114,121, 130-31; and Shanghai Document (1928 film), 174; and soundscape of Chinese cities, 57; and translation issues, 215; Tretyakov and overcoming exoticism, 24-25,39,41,47-54, 86, 214; and unfinished film Go to the People, 82 “factography’V’literature of fact,” 7,30-31, 37-38,40-42,163,192,207; bio-interview as mode of education and factographic training, 208-14; Chuzhak and, 40-43; and Den Shi-khua (cofiaborative autobiography), 188,191,199, 201-2, 207; and mode of reading, 202; and overcoming automatization, 210-14; Pilnyak and, 67-68; purpose of, 41; and translation strategies, 215; Tretyakov and, 30-31,40-43,88-89,207,209-14,218 Fairbanks, Douglass, 161 Famarin, К. (Emmanuil Beskin), 102-3, n4 Farrère, Claude, 25 Fedorenko, Nikolai, 121 Fedorov, Vasily, 101, 274Ո86 Feng Yuxiang, 13,44,148,163,164; Gao Shihua and, 188-89,217,227-28,301Ո174 fetishism, 25-26,87 Filimonova, Tatiana, 67 film. See cinema First Congress of the Peoples of the East, 3 Flanagan, Michael, 142 Forty Canes or Love in China (political operetta), 89 Foucault, Michel, 202-3,206, 207 400 Million (1929 film), 168 Franck, Harry, 261Ո65 Galperin, Mikhail, 85, 270Ո29 Gamsa, Mark, 104 Gaonkar, Dilip, 172
Gao Shihua, 34,187-230,200,234; agency of, 214,226,229; as author and translator, 197,208-9,217-18,228; background, 187, 211-12,298Ո107; at Beijing University, 187,188,194-95,205,220-21,226; career, 187-89,217,227-28; and CCP, 196, 203-4, »5,228,301П174; and collaborative autobiography (see Den Shi-khua); eventual fate of, 227-28; Feng Yuxiang and, 188-89, 217,227-28,301П174; and internationalist knowledge production, 191,208,212; and Marxism, 195,205,211; in Moscow at Sun Yat-sen University, 187,188,195,203-4,224-25,292Ո4; name changes, 187,189; and name translation issues, 298Ո109; as real name of Den Shikhua, 187,292m; return to China in 1927, 187-89,191,223-30,232, 292Ո4; Russian language skills, 197-98,217; Russian pseudonym, 187,204,292Ո3, 297Ո69; “Sinking Their Own Ship,” 209; and Soviet assessments and surveillance, 204-6; Tin Iuin-pin’s assessment of, 224-29; and training as factographer, 209-14; Tretyakov and Ivin as teachers of, 187,195 Gao Xingya. See Gao Shihua Gao Yaheng, 187,194 Gas Masks ( Tretyakov play), 89,105 Gastev, Aleksei, 23 Geisha, The (Jones operetta), 87 Geltser, Ekaterina, 90,114-18,125,278Ո181 geography; cartography and China on Fire (1925 film), 137-42; and cinema, 135-42; imagined geography of new Soviet identity, 135,137,147; and montage, 135. See also Great Flight, the
340 INDEX Georgievsky, Sergei, 15 German Ideology, The (Marx), 49 Glière, Reinhold, 90,114 “going to the people” movement in Russia Herder, J. G„ 14-15 Heroic China (Xiao San), 236 Herzen, Alexander, 55 and China, 77-78 Goncharov, Ivan, 49 Gorodetsky, Sergei, 102-3,107 Gorsky, Aleksandr, 116 (Qu Qiubai), 40 “Homeward” (Tretyakov article), 44 “How I Wrote Deng” (Tretyakov unpublished note), 198, 212-13,226,292Ո4 Goskino, 134,158,162,163 Go to the People (unfinished film), 32,39-40, Hughes, Langston, 64 Hu Hanmin, 100 Hu Lanqi, 235 huosheng (trade sounds), 56-57,59 77-83 Gozzi, Carlo, 86 Great Flight, the (Soviet transcontinental flight of 1925), 144-57,148 Great Flight, The (1926 film), 33,135,143, 147- 58,154,156-57,170-71 Great Leap Forward, 245 Gromov, Mikhail Mikhailovich, 145 Guangzhou, 11,146,147,148,153,158,165. See also Canton Uprising Gumilev, Lev, 15 Guomindang (Nationalist Party), 11; alliance with CCP, 4,13,233; and The Chinese Mill (1928 film), 185; and Chinese Novellas, 232; and Dzhungo (unmade film trilogy), 163,166; and The Great Flight (1926 film), 148-49,153; and Shanghai uprising of 1927,14,34; Soviet rapprochement with Guomindang (1932), 167; Soviet support for, 4,13,168,191,213; split from CCP, 4, 8,168,169,187,232-33; split from Soviet Union, 166,187,196,229,231-32 Guo Moruo, 77 Halfin, Igal, 190, 203, 206,207,226 Hankou, 68,72-73 Harley, Brian, 137 Hawley, Edwin C„ 88-89,93-94,270Ո23, 272Ո50. See also Roar, China! Hayot, Eric, 9 Hegel, G. W. F., 9,14-15,136 Hellbeck, Jochen, 190 Herald of World Literature (journal), 234, 236 History of the Heart in the
Red Capital, A Hu Shi, 12,18 Huttunen, Tomi, 201 Imperial Ballet, 114 Imperialism, the Highest Stage of Capitalism (Lenin), 10-11,260Ո61 internationalism, 3-5; and aesthetic tensions between emancipation and control, 21; and The Chinese Mill (1928 film), 182,185-86; and cinema, 33-34,82 (see aho specific films)·, and comedy in film, 34,182,185; competing visions of, 31,83; contradictions between global solidarity and Soviet leadership, 5,29-30; contradictions between transnational community and cultural differences, 5,39; and Den Shi-khua (collaborative autobiography), 191-92,208,212, 230; and global imaginary geography, 136; and the Great Flight (1925), 145,148; Ivin and, 18; Lee on, 74; Lenin and, 11,18; and need for new sense of China based on sensation/ bodily experience, 19-20; Pilnyak and, 39,67-69,71,75-76; and The Red Poppy (ballet), 114,118; and Roar, China!, 83, 85; and social recognition across distance as fundamental challenge, 136 (see also transnational connection between Soviet and Chinese people); and Soviet traveling writers in China, 38 (see abo Pilnyak, Boris; Tretyakov, Sergei Mikhailovich);
INDEX and Stalin’s “nationalist in form, socialist in content” formulation, 35,233,302Ո8; and tension between centripetal and centrifugal forces, 7-8,29-30,42,64 (see also under internationalist aesthetics); and theatrical productions, 91 (see also specific productions)·, Tretyakov and, 39,83, 85,191-92,208,212, 230; and unfinished film Go to the People, 82; Xiao San and, 236-37. See also internationalist aesthetics; specific works and authors internationalist aesthetics, 5; and The Chinese Mill (1928 film), 143,186; and “Chinese Story” (Pilnyak story), 71; and cinema, 134-35; defined/described, 5, 20-21; and Den Shi-khua (collaborative autobiography), 191,230; and different media, 31; and Dzhungo (unmade film trilogy), 159-60; failures of internationalist project, 35-36; goals of, 7,17,19-21,35-36; and Orientalism, 29; and “redistribution of the sensible,” 20,24; and The Red Poppy (ballet), 117; and Roar, China! (Tretyakov play), 105-6; and “Roar China” (Tretyakov poem), 61,64; and tension between centripetal and centrifugal forces, 91,92, 109 (see also under internationalism); tensions between Soviet perspective and need for collaboration, translation, and mediation, 83 internationalist subjectivity, 7,19-23, 29 58, 253Ո93 International Literature (journal), 35,234-36, 304Ո20 International Workingmen’s Association, 3 Ivanov, Aleksei Alekseevich. See Ivin, A. Ivanov, Vsevolod, 66,129 İven, Joris, 172 Ivin, A. (Aleksei Alekseevich Ivanov), 187,252Ո74, 253Ո78; and ameliorating Russian ignorance about China through language study and direct sensory experience, 16-20; arrest
of, 244,307Ո67; 341 at Beijing University, 16,187,195; and cultural convergence of the Soviet and Chinese people, 18; observations of uneven development in China, 54-55; “Revolutionary Beijing,” 54-55,74; Tretyakov and, 54 Jakobson, Roman, 60-61 Jameson, Fredric, 5 Japan, 10,12; and British musical theater, 86-87; and charges of espionage, 244; invasion of China, 189, 233,235; and production of Roar, China! (1942), 110; Russian anxieties about the Yellow Peril, 10,15; Tian Han in, 78 Jiang Guangci, 8, 81,234; career, 76; failed cinematic collaboration with Pilnyak, Յշ 39-40,76-83; on Pilnyak as a “fellow traveler,” 76-77 Joffe, Adolf, 13 Jones, Sidney, 87 journalism. See “factography”/”literature of fact”; documentary; Tretyakov, Sergei Mikhailovich Journey to the Land ofHunger (Qu Qiubai), 40 Jowitt, Deborah, 115-16 Kalatozov, Mikhail, 162 Kamei, Fumio, 181 Kameneva, Olga, 264Ո121 Karakhan, Lev, 13,16,244 Kates, George N„ 57 Kaufman, Mikhail, 172-73 Khersonsky, Khrisanf, 158,185 Kino (newspaper), 134,149,157,160 Kisch, Egon Erwin, 40 Klabund, A. H„ 86 Kleberg, Lars, 134 Kőjévé, Alexandre, 136 Kollontai, Alexandra, 27-28 Koonen, Alisa, 87 Kostarev, Nikolai, 38 Krasnaia gazeta (newspaper), 42
342 INDEX Krasnaia nov’ (journal), 17 krasnyi так, ці, цз 280Ո107. See ako Red Poppy, lhe Kropotkin, Peter, 195 “going to the people,” 77; Marxism reading group, 205 Li Hua, 64,110 Lincheng incident (1923), 165 Kuleshov, Lev, 135 Kurilko, Mikhail Ivanovich, 90,114,119,125, Linde, F. V., 83 Li Quanfu, 86 literature, Chinese, 35; Gao Shihua and, 208- 126,127,128,276Ո138 KUTV. See Communist University for the Workers of the East 9; and International Literature (journal), 235,236-40; League of Left-Wing Writers, 234; May Fourth literature, 209; and New laborers. See proletarians/laborers Lacan, Jacques, 130 Lahuti, Abulqasim, 240 language: Chinese Pidgin Russian, 104-9, 275Ո102; and collaboration process for Den Shi-khua, 197-98; language limitations bypassed in Tretyakov’s “Roar China,” 32,39,65; linguistic choices in Tretyakov’s Roar, China!, 103-10. See abo Chinese language; translation Laozi, 15 Lashchilin, Lev, 114 Lavrovsky, Leonid, 123 League of Left-Wing Writers, 234 Lebedenko, Aleksandr, 150-51 Lee, Steven, 74 Left Front of the Arts (LEF), 21,23 Culture movement, 12; Russian influence on, 8,209,233-34; Xiao San and, 235-40 literature, Russian: and alienation effects, 218-22; children’s books/adventure stories, 29,190,192,294Ո24; Chinese interest in Soviet literature, 76,79,234; Chinese intermediaries of the 1930s (see Mei Lanfang; Xiao San); confessional autobiographies, 189-90,202-8,226-27 (see ako autobiography); debate over novelistic fiction, 192; lack of major works on China in the 1930s, 233; “literature of cognizing life” vs. “literature of constructing life”
(Chuzhak’s ideas), 30-31; and the “literature of fact” or “factography,” 7,30-31, 40-42,188,192, Lehar, Franz, 86,87 Leibniz, G. W, 9 218 (see also “factography”/”literature of fact”); revolutionary Bildungsroman, 189-90,192-94; “road-to-consciousness” Lejeune, Philippe, 195, 299П112 Lenin, Vladimir: “Awakening of Asia,” 12-13, 232; and cinema, 29; and colonialism, 3, 11,142,146; and internationalism, 11,18; narratives, 190,192-93, i95 228-29; Russian Association of Proletarian Writers (RAPP), 192,198; and Socialist Realism, 188,190,206,295Ո35 (see also and uneven development, 260Ո61 Leontiev, Leonid, 27711155 Lermontov, Mikhail, 197 realism); and Soviet cultural influence in China, 8,209, 233-34. See abo poetry Literature and Revolution (Trotsky), 76 Lévi-Strauss, Claude, 5 Levshin, A., 182 Levý, Jiří, 91 “literature of fact.” See “factography”/”literature of fact” Literature of the World Revolution (journal), Leyda, Jay, 78,268Ո204 Liaozhai zhiyi, 117 Little Red Flower, The (ballet), 116 Li Dazhao, 12,14,16,54,224; and Chinese Socialist Youth League, 297Ո81; and Liu, Lydia, 127 Liu Hua, 69-70 234. 236
INDEX 343 Liukoni, E. M., 270Ո28 Markov, Pavel, 101 Liu Shaoqi, 8 Li Yingnan,297Ո87 Li Yiyuan, 89,164 Marx, Karl, 3,49,247Ո6 Marxism: commodity fetishism, 25-26; and confessional autobiographies, 203; and Lopukhov, Fedor, 277Ш55 Loti, Pierre, 25,118,131 Lotman, Yurii, 282Ո238 “Loving China” (Tretyakov essay), 24-27 Low Grass Society, 208-9 Lukács, Georg, 198,201 Lumière brothers, 136, 283Ո8 Lunarcharsky, Anatoly, 234 Lu Xun, 12,16,167,209,234,235,244; influence of Russian literature on, 8; education of Chinese revolutionaries in the Soviet Union, 8; embraced by Chinese intellectuals, 77; Gao Shihua and, 195,205, 211; Mao Zedong and, 244; Qu Qiubai and, 234; and Shanghai Document (1928 film), 170-71,181; and Soviet assessment and surveillance of university students, 206; and Soviet cultural influence in Madame Butterfly narrative, 98,118,129-30 China, 233-34; and Tian Flan’s “selfcriticism,” 78-79, 83-84 Mayakovsky, Vladimir, 21,197,238,247Ո4, 298Ո108; “The Best Verse,” 1-3,7,14 May Fourth movement, 8,78,79,166,209, Madame Butterfly (Puccini opera), 87,130 “The Magician of the Pear Orchard” (Eisenstein), 240 May Thirtieth movement, 8,146,153,165-66 Mei Lanfang, 35,233,240-43,298Ո99 Pilnyak and, 79-80; Xiao San and, 236 Magnanimous Cuckold, The (Meyerhold production), 101 Maksimov, N., 283Ո10 Malinowski, Bronislaw, 44 Malraux, André, 249Ո27 mamandi, 71-72, 75, 80 Mankatta (1921 film), 171 Man with a Movie Camera (1929 film), 172, 175-76 Mao Dun, 8, 235 Mao Zedong, 12,16,166; and concept of national form, 35,244-45; and divergent Soviet and Chinese models of state socialism,
35; in Moscow, 121; Xiao San’s biography of, 236 maps: and China on Fire (1925 film), 137-42; and The Chinese Mill (1928 film), 185; and the Great Flight (1925), 147; and The Great Flight (1926 film), 156 Marchetti, Gina, 129-30 “March of the Volunteers” (song), 77 Mariinsky Theater, 113 Marinetti, Filippo, 60-61 298Ո99 Meyerhold, Vsevolod, 22, 85,101-3,240, 244 Meyerhold Theater, 22,33,97,274Ո86, 276Ո127; and combination of naturalistic authenticity and theatrical artifice, 102; and linguistic choices in Roar, China!, 105-6; and staging of Roar, China!, 89, 94-95,100-103 Mikado, The (Gilbert and Sullivan), 87 Mikhels, V, 152 Mirbeau, Gustave, 25 modernity: and aviation, 149 (see also aviation); Beijing and, 54; and China’s loss of sovereignty, 35; and Den Shi-khua (collaborative autobiography), 192,194, 204,213; and Dzhungo (unmade film trilogy), 166; and Mei Lanfang’s visit to Moscow (1935), 241; and New Culture and May Fourth movements, 8; and nostalgia, 83; Pilnyak’s ambivalence about Russian and Chinese modernity, 65,83, 266Ո168; and The Red Poppy (ballet), 130; revolutionary modernity in China and Russia, 9,10,27,28,30,55,65,130,171,192;
344 modernity (Continued) rival forms of, 19,33; semicolonial modernity, 33,153,166,195; Shanghai and, 152,152,171; Soviet Union as model for China, 8; technologized modernity, 76, 82,149,151; urban modernity, 172; INDEX Robeson and, 74; traders’ use of sound instruments, 57-59, 262Ո99, 262Ո103 Nabokov, Vladimir, 131 Mongolia, 144,147,148,150 Naked Year, The (Pilnyak), 65-66 “Nanjing Road” (Xiao San), 238-39 national form, concept of, 35,233,240-45 Nemirovich-Danchenko, Vladimir, 240 New Culture movement, 8,12,18,241 Mongols, 67,73,74 montage, 34,42-43,135-36; and Chinese leftwing cinema, 234; and The Chinese Mill (1928 film), 183-84; and city symphony Nida, Eugene, 215 “Night. Beijing” (Tretyakov poem), 42,57 Nightingale, The (Stravinsky opera), 87 “nonsynchronism” (Bloch’s concept), 52 genre, 171-74; and Den Shi-khua (collaborative autobiography), 199-201, 200,230; and The Great Flight (1926 film), 155; and Shanghai Document (1928 film), 143,168,170-74,180-81; Soviet montage theory, 34,168,170,234 Moscow: Gao Shihua in, 187,188,195,203-4; and Kitai-gorod (China-town), 66; and nostalgia, 69,72-75, 83 Nothing but the Hours (1926 film), 171 Novitsky, Pavel, 98 Novyi Lef (journal), 22,37,40,187,192,293Ո7 Novyi mir (journal),'67, 265Ո140 and Western culture’s “dream of the universalization of culture,” 9 uneven development, 173. See also Communist University for the Workers of the East; Sun Yat-sen University for the Novyi Vostok (journal), 15-16,17,70,287Ո84 observation: and “the eyes of a consumer” (Tretyakov’s concept), 49; and Ivin’s “Revolutionary Beijing,” 54-55;
observations of uneven development Workers of China Moscow, Do You Hear? (Tretyakov play), 105 in China (see development, uneven); and overcoming automatization, Moscow (1927 film), 172-73,175 Moscow Art Theater, 88,101 “Moscow-Beijing” (Tretyakov travel sketch), 210-14; and Pilnyak’s “Chinese Story,” 71; and “production eyes” (Tretyakov’s 37.38 Mother (1926 film), 167 “Muscovite China” (Mayakovsky poem), 298П108 music, 56-59; and common use of pentatonic scale across Eurasia, 73-74; folk music and transnational concept), 49; Tretyakov and the method of prolonged observation, 38-39,43-45, 48-54; and Tretyakov’s “Beijing,” 47-55; and Western ethnography, 43-44. See also ethnography; sensation/bodily experience; sounds of China; visual perception of China “October Revolution and Russian Literature, communities, 74; huqin (musical instrument), 96,100; “March of the Volunteers” (song), 77; musical theater, 86-87; Pilnyak and, 73-74; and Pilnyak’s on-set experiences with Go to the People, 81; and The Red Poppy (ballet), The” (Jiang Guangci), 76 Olivier, Laurence, 87 “One and a Half Billion Spectators” 117-18; and Roar, China!, 96, 98,100; “operativity” 30,41,43 (Tretyakov), 242 “On New Democracy” (Mao Zedong), 244 onomatopoeia, 32,57-64
INDEX 345 opium: ССР eradication of use, 122; and Chinese discomfort with title The Red- and revolution, 69,75-76,79; “Sankt- Poppy, 121-23; opium dream sequence in The Red Poppy, 112,114-16,120,123, of the Unextinguished Moon,” 65; and translation issues, 38,39,71-73, 82; as 128-29; Opium Wars, 33,92,121-22; and resignification of the poppy in The Red traveling writer, 38; visit to China (1926), Poppy, 119-33; Tretyakov on, 124 Orientalism, 9-10,16,29,115-16,151 Orientalism (Said), 9 Piter-Burkh,” 67; scandal about “Tale 65-67,79-80, 83, 264Ո121 Piscator, Erwin, 240 Plekhanov, Georgy, 234 poetry, 1-3,7,42,57, 236-40,298Ո108. See also “Roar China” Palmer, Scott, 144 Papazian, Elizabeth, 2,295Ո35 Papernyi, Vladimir, 7 Polevoi, Sergei, 16 Ponomarev, Vladimir, 277Ո155 Pavlov, Georgy, 86 Pavlovich, Mikhail, 15-16,158,160, 287Ո84 Pearl River, The. See under Dzhungo Pound, Ezra, 9 Pravda (newspaper), 17,42,90,93,146, Peirce, C. S„ 61 Peoples Republic of China, 110,120,233 Peoples Republic of Mongolia, 150 Pertsov, Viktor Osipovich, 149,169 Peter the Great, 67 Petipa, Marius, 114,116,118 Princess Turandot (Gozzi play), 86, 88,91 Proletarian Culture movement, 23 proletarians/laborers: and colonized and semi-colonized countries, 3,11; and Pharaoh’s Daughter, The (ballet), 114,116 photography, 43,50,51,199-201,200,296Ո54. See also Prozhektor Pilnyak, Boris, 16,81, 83-84,265Ո143, 266Ո168; arrest and execution, 65,244; and art’s autonomy from politics, 65; and Chinese intermediaries, 38,76-77; and Chinese sense of time, 71-72,75; “Chinese Story’ 16,32,39, 67-76,80-83; compared to
Tretyakov, 65,68,70-71; and Eurasianism, 66-67,73; failed cinematic collaboration with Tian Han and Jiang Guangci, 32,39-40,76-83; focus on sensory experience, 38,39,71, 80-82; and internationalism, 39,67-69,71,75-76; and internationalist aesthetics, 71; Lu Popova, Lyubov, 102 271Ո32 The Communist Manifesto, 3; and Dzhungo (unmade film trilogy), 165; and The Great Flight (1926 film), 152; juxtaposition of labor and leisure, 62, 111,117,169-71,174-76; and the literature of fact program, 41; and The Red Poppy (ballet), 113,114,117; and Shanghai Document (1928 film), 169-71,174-76; and Tretyakov’s “Roar China” (play), 94-96; and Tretyakov’s “Roar China” (poem), 61-64; and violence of 1927,176; words for, 247Ո4 Prozhektor (photo-journal), 42,43, 50 Puccini, Giacomo, 87 Pudovkin, Vsevolod, 167,234 Pu Songling, 117 Pu Yi, 164 71; and music, 73-74; The Naked Year, Qing Empire, 11-12 Qin Zhen, 245 Qiu Kunliang, 270Ո23 Que Viva Mexico (Eisenstein film), 162 65-66; and nostalgia, 69,72-75, 83; Qu Qiubai, 8, 40, 233-34 Xun and, 79-80; mediating between difference and commensurability, 65, 82-83; and mediation of Chinese culture,
346 Rabochaia Moskva (newspaper), 42,43 Radek, Karl, 109,146,231,244 Radiov, Sergei, 103-5 Rain (1929 film), 172 Rancière, Jacques, 20,24 RAPE See Russian Association of Proletarian Writers Razumov, S. P„ 231-32 realism, 209,235; aesthetic conflict between naturalism/realism and conventionality/ theatricality, 31, 85,88-89, 91,101-3; and Den Shi-khua (collaborative autobiography), 192,198; and influence of Russian literature on Chinese writers, 8, 209; vs. “literature of fact,” 192,209; and May Fourth movement, 209,235, 298Ո99; nineteenth-century realism in Russian literature, 209; and The Red Poppy (ballet), 113-14; Socialist Realism, 113-14, 188,190,206,241,295Ո35; and Soviet avant-garde, 298Ո99; tension between realism and modernism, 5,31,241 red, cultural meanings of color, 131-32 “redistribution of the sensible,” 20,24 Red Poppy, The (ballet), 32-33,85-86, 110-33,276Ո138,277Ո142,277Ո155,279П183; analysis of narrative, 111-13,118-21, and anti-imperialism, 115; Chinese 127-30; discomfort with title, 121-23; Chinese spectators’ responses, 33,92,121-24,133; chinoiserie aesthetics, 116-18; choreography, 112,114,116-18,277Ո155; compared to Roar, China!, 91-92,94,110-11,117,133; contrast between first and second acts, 114; creators, 114-15,123-28; critics’ responses, 113-16; dancers, 114,118,270Ո28,277Ո142,278Ո181 (see also Geltser, Ekaterina; Lashchilin, Lev); and internationalism, 114,118; and internationalist aesthetics, 117; musical choices, 117-18; name of character Tao Hua, 124-27,133; narrative reworked in production of 1949,120-21; opium dream sequence,
112,114-16,120,123,128-29; and INDEX Orientalism, 115-16; origin of production, 90; popularity of, 113; prerevolutionary traditions expressing revolutionary themes, 115-20; production of 1927, 110-20,127-28; production of 1949,120-21; production of 1957,123; and realism, 113-14; and reviving ballet in the Soviet Union, 89-90; revolutionary theme, 85,90,92,113, 115-16,128,130; romance in, 112,118-19, 130; and self-sacrifice, 92,113,120,129; signification/resignification of the red poppy, 119-33; stage design, 116-18,126,127; strategy of performative mediation, 91; and translation issues, 91,92,124-27,13Ն133 “Red Scarf, The” (Erdberg), 232,246 Reed, John, 40 Remizov, Aleksei, 15 Repin, Ilya, 74 revolution and revolutionary consciousness, 233; and autobiographies, 190; and Battleship Potemkin (1925 film), 134; and COP, 182; and China on Fire (1925 film), 142; and China’s semicolonial condition, 142-43; Chinese Communist Revolution, 35,121; and Chinese Novellas, 232; and Dzhungo (unmade film trilogy), 164; and Guomindang, 153; Ivin and, 54-55; Lee and, 74; Lu Xun and, 79-80; and May Thirtieth massacre (1925), 146; Pilnyak and, 65,79-80, 83; and Pilnyak’s “Chinese Story,” 69, 75-76; and The Red Poppy (ballet), 85, 90,92,113,115-16, 128,130; revolutionary poetry, 238-40 (see aho “Roar China”); “road-toconsciousness” narrative as master plot of the Soviet novel, 190,192-93; and romance, 78-79; Russian Revolution, 77 79, 89; and self-sacrifice (see selfsacrifice); and Shanghai Document (1928 film), 175; Tian Han and, 82; Tretyakov and, 52, 61-64, 82; and Tretyakov’s Roar, China!,
92, 96,108; and unfinished film Go to the People, 78-79
INDEX “Revolutionary Beijing” (Ivin article), 54-55, 74-75 Rikhter, Zinaida, 56 Road to Life (Ekk), 167 Roar, China! (Tretyakov play), 22,32-33, 83, 93-110,97; actors and acting style, 98,99, 100,101; analysis of narrative, 93-100; and anti-imperialism, 83,95,108,110; based on Wanxian incident of 1924, 85, 88,93-94,96-97; Chinese production of 1949,110; Chinese spectators’ responses, 100; and Christianity, 96-97,108; and collective responsibility, 95; and combination of naturalistic authenticity and theatrical artifice, 101-3; compared to Battleship Potemkin, 134; compared to The Red Poppy, 91-92,94,110-11,117, 133; and creation of sympathy between Chinese onstage and Soviet audience, 95-96,100,101; critics’ responses, 98, 101-5; and double context of domestic and foreign, 109; and Dzhungo (unmade film trilogy), 164; and ethnographic 347 limitations bypassed in, 32,65; and onomatopoeia, 57-64; and poetry as a form of reportage, 61; significance of title, 64 Robbins, Bruce, 19 Robeson, Paul, 74 Rodchenko, Aleksandr, 21,45,45 Rogov, Vladimir, 306Ո40 Romm, Aleksandr Ilich, 35,237-39,305Ո35 Rou Shi, 235 Roy, M. N., 250Ո32 Rozen School of Orientology at the University of St. Petersburg, 15 Russia, Imperial, 10,13,122,148 Russian Association of Proletarian Writers (RAPP), 192,198 Russian language. See Chinese Pidgin Russian; translation Russian Populists, 77-78,80 Russian Revolution, 77,79,89 “Russian Spoken Here” (Nabokov), 131 Russian views of China, 14-28; Chinese society viewed as an “anthill,” 55, 68; naturalism, 100-110; and “factography,” 88-89; international appeal of,
109-10; and internationalism, 83, 85; and internationalist aesthetics, 109; and Li Hua’s woodblock, 110; linguistic choices, 103-10; musical choices, 96, 98,100; and national consciousness, 96; and commodified exoticism, 25-26; distorted nature of popular knowledge about overcoming exoticism, 86; and the performance of translation, 33,92,10610; as a “play-article,” 89; and revolution, 92,96,108; and self-sacrifice, 92,96-100; significance of title, 96,108; staging, of direct experience of China, 18-19; need for new sense of China, 19-28; perceptions of Chinese music, 56, 81; pre-Soviet contexts and attitudes toward China, 14-15; racialized geopolitical fears about the East, 10,15; and stage theory of revolutionary development, 30; stereotypes, 25-26,49,68,71, 86-88,114; and theater productions of the 1920s, 86-87; Tretyakov on overcoming exoticism, 24-25. See also exoticism; literature, Russian; specific writers and works 94~95 100-103; strategy of performative mediation, 91; and translation issues, 91,105-10; and transnational class consciousness, 95-96 “Roar China” (Tretyakov poem), 32,39, 57-64,262Ո99,262Ո103, 263Ո104; and internationalist aesthetics, 61,64; and internationalist subjectivity, 58; language China, 15-18,25-26; and early Soviet films, 33-34; and Eurocentrism, 17-18; geohistorical theme of “Russia between East and West,” 66; Ivin’s views and recommendations, 16-20; and lack
348 Ruttmann, Walter, 171-72 Rykov, A. I., 144 Said, Edward, 9,16 “Sankt-Piter-Burkh” (Pilnyak), 67 satire. See Chinese Mill, The Saussy, Haun, 298Ո99 sdvig (Futurist technique), 62 Second International, 3,248Ո6 INDEX 170-71; chronotope, 171,174; and cinematic affect, 176; and city symphony genre, 171-74; compared to The Chinese Mill, 182; compared to The Great Flight, 170-71; compared to Man with a Movie Camera, 175-76; compared to Moscow, 174 175; and eyeline match technique, 179; filming of, 169,171,179-80; international appeal of, 181-82; juxtaposition of labor šeichas, 72,75 self-sacrifice, 96; and The Red Poppy (ballet), 92,113,120,129; and “road-toconsciousness” narratives, 190,193; and Tretyakov’s Roar, China!, 92,96-100 and leisure, 169-71,174-76; and Marxism, 170-71,181; and montage, 34,143,168, 170-74,180-81; and revolution, 175; and scenes of spectatorship, 177-81; and semicolonialism, 174,177; sequences semiotics, 61,130-31 sensation/bodily experience: focus on sounds of China, 55-64 (see ako sounds of China); focus on visual perceptions of described, 169-70,174-81; and shift in expedition film genre, 170-71; and transnational class consciousness, 171; and China, 47-55 (see also visual perception of China); and the Great Flight (1925), 149; Ivin and, 19-20; need for new sense of China based on sensation/bodily experience, 19-20; Pilnyak and, 38; and Pilnyak’s “Chinese Story,” 32,39,71,72-73; and Pilnyak’s on-set experiences with Go to the People, 80-82; and the purpose of art, 23-24; Tretyakov and, 23-24, 28, 38; and Tretyakov’s “Beijing,” 47-55; and
Tretyakov’s “Roar China,” 32,39,57-64. See also observation Serebryakova, Gafina, 38,56, 256Ո4 Serebryakova, Leonid, 56,256Ո4 Shanghai: and Dzhungo (unmade film trilogy), 165-66; and the Great Flight (1925), 147; and The Great Flight (1926), 151-52,152,155-56; May Thirtieth massacre (1925), 146,165-66; and modernity, 151-52; Pilnyak and, 68,71,75; Shanghai Document (see Shanghai Document); as space of uneven development, 152-53; as treaty port, 12; and uprising of 1927,1,4, 14.175-77,223 Shanghai Document (1928 film), 34,135,143, 168-81,178-81; and associative thinking, violent historical events of 1927,175-77; and visual parallelism, 169-70,180 Shavrov, B. V., 277Ո142 Shcherbatskaya, Olga, 265Ո143 Sheeler, Charles, 171 Shklovsky, Viktor, 16,24,158, 210,306Ո45 Shmidt, įsai Pavlovich, 145 Shneiderov, Vladimir, 146,147,150,151,153, 155,161-62,245-46 “Sinking Their Own Ship” (Gao Shihua), 209 Sino-Soviet relations: breakdown of relations (1927), 182,185,187,196,229; breakdown of relations (late 1950s), 245; China as center of Soviet press attention in 1925,146; Chinese migrants, 15,67; and cinema, 13536,143 (see also cinema; specific films); and competing visions of internationalism, 83; context of Sino-Soviet relations in the 1920s, 10-14,82; and Den Shi-khua (collaborative autobiography), 188-89, 213; divergent models of state socialism, 35,182,233, 245-46; establishment of Sino-Soviet diplomatic relations (1924), 13; and Japanese encroachment, 189, 233; and power relations, 191; pre-Soviet contexts and popular attitudes toward China, 14-15; and sense of commonality
INDEX in Pilnyak’s “Chinese Story,” 73; Soviet 349 cultural influence in China, 8,209, University for the Workers of the East; Sun Yat-sen University for the Workers 233-34; Soviet rapprochement following ССР victory, 244; Soviet rapprochement of China); contradictions between global solidarity and Soviet leadership, 5,7-8; with Guomindang (1932), 167,243; Soviet cultural meanings of the color red/red split from Guomindang, 166,187,196, 229, 231-32; Soviet support for Guomindang, 4, 13,168,191; and Tretyakov’s “Cinema and flowers, 131-32; differing cultural groups and modes of the 1920s, 29; diplomatic relations with China established, 146; China,” 134-35; and unfinished film Go to the People, 40,76-83. See also Russian views of China; transnational connection divergent Soviet and Chinese models of state socialism, 35,182,233,245-46; and the “documentary moment,” 2,40-41; early Soviet understanding of connection between Soviet and Chinese people Smedley, Agnes, 40,236,249Ո27,301Ո174 Smith, Lowell Herbert, 145 Sneevleit, Hendrikus, 251Ո51 Snow, Edgar, 40,235,249Ո27 So, Richard, 30 Socialist Realism, 113-14,188,190, 206,241, 295Ո35 solidarity. See transnational connection between Soviet and Chinese people Solovyov, Vladimir, 10,66 Soulié de Morant, George, 125 sounds of China, 55-64; auditory alienation, 56, 81; and “Chinese Story” (Pilnyak story), 71-73,72-73; and “Night, Beijing” (Tretyakov poem), 57; and “Roar China” (Tretyakov poem), 57-64, 65; Russian perceptions of Chinese music, 56,81; trade sounds, 56-57,65,72-73 Soviet avant-garde, 298Ո99; Left Front of the Arts,
21,23; and “literature of fact,” 40-41; Mei Lanfang and, 35, 241; members of, 21; and postrevolutionary theater, 89; and the purpose of art, 23-24. See aho Tretyakov, Sergei Mikhailovich Soviet Union: and anti-imperialism, 4, 8, 26, 35 (see aho anti-imperialism); assessment and surveillance of university students, 204-6; aviation and its significance in the Soviet Union, 144-57,285Ո46; centerperiphery relations, 151; and Chinese Civil War, 148-49; Chinese revolutionaries educated in, 8,13 (see also Communist between emotional/affective experience and political consciousness, 10; First Five-Year Plan, 41,186; and geohistorical theme of “Russia between East and West,” 66-67; imagined geography of new Soviet identity, 135,137,147; and internationalism (see internationalism; internationalist aesthetics); intervention in China’s internal politics, 4,8,13-14,41; and mass media, 29; and modernity, 9-10,27,30, 149,151; Proletarian Culture movement, 23; Purges of the 1930Տ, 243-44; Qu Qiubai’s reportage on, 40; relinquishment of holdings in China, 13; Russian Populists and “going to the people,” 77-78; Socialist Realism, 113-14,188,190,206,241,295Ո35; Soviet cultural influence in China, 8, 209, 233-34; Soviet socialism as model for China, 8; Soviet traveling writers in China, 32,37-84 (see also Ivin, A.; Pilnyak, Boris; Tretyakov, Sergei Mikhailovich); tension between backwardness and technology at the periphery, 151; and theme of selfsacrifice, 96 (see also self-sacrifice). See aho ballet; cinema; Comintern; literature, Russian; Moscow; Russian views of China; Sino-Soviet
relations; theater; transnational connection between Soviet and Chinese people Sovkino, 172 Soy Cuba (Kalatozov film), 162 Spence, Jonathan, 25
350 Stalin, Joseph: and Canton Uprising (1927), 14; and dispute over China policy, 14; dissolution of the Comintern (1943), 35; “nationalist in form, socialist in content” formulation, 35,233,302Ո8; and production of The Red Poppy (1949), 120; Stalinist universalism, 35,233; and “Tale of the Unextinguished Moon” (Pilnyak story), 65 Stanislavsky, Konstantin, 87,88,101,240 State Academic Theater of Opera and Ballet, tų Steiner, Evgeny, 29 Stepanov, V. L„ 168,169 stereotypes. See Russian views of China Stern, Jonathan, 58 Stories about China (Smedley and Xiao San), 236 Storming the Winter Palace (Evreinovplay), 89 Storm over Asia (1928 film), 167,234 Strand, Paul, 171 Stravinsky, Igor, 87 Strong, Anna Louise, 40,249Ո27 Sun Meiyao, 165 Sun Yat-sen, 11,13,146, 224 “Sun Yat-sen in Beijing” (Tretyakov article), 42,44 Sun Yat-sen University for the Workers of China, 8,13; assessment and surveillance of university students, 206; Gao Shihua at, 187,188,195,203-4,224-25,292Ո4 Tai Jingnong, 235 Tairov, Alexander, 87,240,241 Takuboku Ishikawa, 78 “Tale of the Unextinguished Moon” (Pilnyak), 65 Tarkhanov, Oskar, 38,231-32,244 theater: aesthetic conflict between naturalism/realism and conventionality/ theatricality, 85, 88-89,91,101-3; Asia-themed productions of the 1920s, 86-88 (see also The Red Poppy·, Roar, INDEX China/); Chinese theater, 56,240-43; Chinese views of Russian China-themed productions, 33,92,100,121-24,133; and ethnographic authenticity/naturalism, 89,100-110; and internationalism, 91; Madame Butterfly narrative, 98,118, 129-30; Mei Lanfang’s visit to Moscow, 240-43; and
modernist experimentalism, 88; and national form, 241-43; and Russian perceptions of Chinese music, 56, 81; and tension between centripetal and centrifugal forces, 91,92; theatrical chinoiserie, 87,114,116-18; and transethnic romance, 87,92,98; and translation issues (see translation); Tretyakov and, 22,32-33, 85 (see aho Roar, China!). See also ballet; Roar, China!; Red Poppy, The Thief of Bagdad, The (1924 film), 161, 287Ո88 “Through Unwiped Glasses” (Tretyakov article), 49 Tian Han, 162; career, 77; failed cinematic collaboration with Pilnyak, 32,39-40, 76-83; in Japan, 78; Linde and, 83; and Marxism, 78, 83-84; and revolution, 82; and Russian Populism, 77-78; “selfcriticism” of 1930,78,79,83-84 Tianjin, 12,48 Tikhomirov, Vasily, 90,114-16,118,124,127 Tin Iuin-pin, 224-29 Tisse, Eduard, 134,159 Toker, Leona, 228 Tolstoy, Lev, 15,195, 205, 208 Tolz, Vera, 15 translation: ambivalent role of translation as a form of mediation, 31; and Chinese intermediaries, 31,39,127; and collaborative authorship, 35, 44-45,214-18 (see also collaborative authorship); and Den Shi-khua (collaborative autobiography), 34, 211-12, 214-18,299Ո129; and exoticism, 215; and “factography,” 215; Gao Shihua as translator, 197,208-9,228; “illusionist”
INDEX 351 vs. “anti-fflusioníst” translations (Levy’s concept), 91; and May Fourth cosmopolitanism, 80; and name of Stalin’s “nationalist in form, socialist in content” formulation, 233; and tension between vertical hierarchy and horizontal character Tao Hua in The Red Poppy, networks, 7-8; and translation issues, 124-27,133; performance of, in theatrical productions, 33,92,106-10; Pilnyak and, 38,39; and Pilnyak’s “Chinese Story)’ 71; and Pilnyak’s on-set experiences with Go to the People, 80,82; and The Red Poppy (ballet), 91,92,124-27, 131, 133; role of Chinese translators and intermediaries concealed in “Beijing,” 51-52; Romm’s 217 (see also translation); and Tretyakov’s Roar, China!, 95-96 Trans-Siberian Railway, 148 Trauberg, Ilya, 168 Treaty of Versailles, 12 Tretyakov, Sergei Mikhailovich, 5-7, 6, 50, 83,158,253Ո78; and alienation translations of Xiao San’s poetry, 237-39; Russian and Soviet debates over, 214-15, 237; and Stalinist universalism, 233; and title of Tretyakov’s Chzhungo, 45, 47; translations of Chinese literature, effects in literature, 218-22; arrest and execution, 65,228, 243-44; aspirations for engineering love for China, 30; background and career, 21-22; and Battleship Potemkin, 134; “Beijing,” 47-54; “Beijing Enraged,” 44; at Beijing 235-40; translations of Soviet literature, University (1924-1925), 5,22,41-43, 234; translation strategies, 31, 92,214-17, 187,195, 258Ո17; bio-interview (see Den Shi-khua); Bogdanov’s influence on, 23; and Chinese intermediaries, 31,32,38,39, 237-38; Tretyakov and, 38,39,44,51-52, 215-18,298Ո109; and Tretyakov’s
Roar, China!, 91,92,105-10; words related to time, 72 transnational connection between Soviet and Chinese people: and affective power of cinema, 143,163-64,176,183-85; and The Chinese Mill (1928 film), 184,185, 186; and cinematic montage, 135-36; and Comintern’s turn to Asia, 4; and Den Shi-khua (collaborative autobiography), 208, 212, 230; and Dzhungo (unmade film trilogy), 162; “face to face” encounters with China through cinema, 135,136, 139,143,154-55,184; and the Great Flight (1925), 148; and The Great Flight (1926 film), 154-55; and International Literature (journal), 235; love and social solidarity (Kollontai’s ideas), 27-28; Mayakovsky’s “The Best Verse” and, 2-3; and Pilnyak’s “Chinese Story)’ 32,39; and The Red Poppy (ballet), 114; and Shanghai Document (1928 film), 171; and Soviet aviation, 144-45 (see also The Great Flight); and 44, 51-52, 83,191 (see also Gao Shihua); and Chinese theater, 241-43; Chuzhak and, 40-41,257Ո9; and Chzhungo (see Chzhungo); “Cinema and China,” 134-35; collaboration with Eisenstein, 22, 33՜34 84, 85, 89,134; collaboration with Meyerhold, 22,85,102; and collaborative authorship, 44-45,83 (see also Den Shikhua); compared to Pilnyak, 65, 68, 70-71; criticisms of The Great Flight, 157-58,170; as cultural mediator of China for a Soviet audience, 5,22-28,30, 37-38, 44; as deputy president of Artistic Council at Goskino First Film Factory, 134; and documentary reportage, 26-27, 32,37-38,40-45.47-55.88-89,158; and Dzhungo (unmade film trilogy), 22,33-34, 84,134,158-67 (see also Dzhungo); as editor of International Literature, 234-35; and
emotion in cinema, 163-64,176; and ethnography, 43-44; and “the eyes of a consumer,” 49; and “face to face”
352 Tretyakov (Continued) encounters with China through cinema, i35 136; and “factography” or “literature of fact,” 6-7,30-31,40-43,88-89, 163,207,209-14,218; familiarity with Chinese Pidgin Russian, 104-5; and fantasy vs. reality, 26-27, 86; first visit to Beijing (1921), 41-42; focus on sensory experience, 23-24,28,38,47-55,57-64; and form-material-fhnction triad, 21; Gao Shihua and (see Den Shi-khua; Gao Shihua); Gas Masks (play), 89, 105; “Homeward,” 44; “How I Wrote Deng,” 198,212-13, 226,292Ո4; and internationalism, 39, 83, 85,191-92,208, 212,230; and international subjectivity, 22-23; interview practices (see Den Shi-khua)·, Ivin and, 54; lack of attention to Chinese voices, 28; “Loving China,” 24-27; and May Thirtieth massacre (1925), 146; mediating between difference and commensurability, 65; Mei Lanfang and, 240-42; as member of the Soviet avant-garde/LEF, 21-22; missions as writer-ambassador, 258Ո15; and montage, 42-43,199-201,200, 230; Moscow, Do You Hear? (play), 105; “Moscow-Beijing” (travel sketch), 37,38; and newspaper medium, 38-45; “Night. Beijing” (poem), 42,57; objections to fetishized image of China, 6; “One and a Half Billion Spectators,” 242; and “operativity,” 30,41, 43; on opium use, 124; and overcoming exoticism, 24-25,39,41,47-54, 86,214; and photography, 43,50,51; and poetry as a form of reportage, 61; and possibility of revolution in China, 52, 61-64, 82; and prolonged observation, 38-39,43-45, 48-54; and the purpose of art, 23-24; return to Moscow (1925), 22,32, 85; Roar, China! (see Roar, China!); “Roar China” (poem), 32, 39, 57-64, 262Ո99,
262Ո103,263Ո104; and role of emotion/ INDEX sensation in organizing consciousness, 23-24; second “bio-interview” (unfinished), 243; and sounds of street trade, 57-64; and Soviet diplomatic community in China, 41; and Soviet films exported to Chinese audiences, 160-61; “Sun Yat-sen in Beijing,” 42,44; on superiority of biography of a “living ‘living’ person” over fiction, 192,294Ո23; theatrical productions, 22,32-33, 83, 85 (see also Roar, China!); “Through Unwiped Glasses,” 49; and training Gao Shihua as factographer, 208-14; and translation issues, 38,39,44, 51,105-10, 215-18,298Ո109; and travel as a process of disenchantment, 49; as traveling writer, 37-38; understanding of the economy of pleasure, 26-27; and uneven development in China, 39,52,260Ո61; “Whence and Wither?,” 23-24, 210 Tretyakova, Olga, 243 Trotsky, Lev, 14,52,76,79, 80,146,164,234, 260Ո61,266Ո177 Trubetskoy, Nikolai, 67,73-74 Tsenovsky, A. A., 102 Tvorchestvo (Creation; journal), 21 Ukhtomsky, Esper, 15 Under Ancient Desert Skies (1958 film), 245 University of St. Petersburg, 15 unmasking, 226-27 Vakhtangov, Evgeny, 88,91 Vasiliev, Aleksei, 150 Vasiliev, Boris, 244 Vasiliev brothers (Georgy and Sergei), 167, 234 Vatulescu, Cristina, 190 Vecherniaia Moskva (newspaper), 147 Veltman, Solomon, 16,70,158 Venuti, Lawrence, 106,214 Vertov, Dziga, 21,24,135,169,170,172 -74 Vilensky-Sibiryakov, Vladimir, 41
INDEX visual perception of China: and Ivins “Revolutionary Beijing,” 54-55; and 353 Xiao San (Emi Siao), 8,35,112,119,122-23, 233,235-40,304Ո20,305Ո35; background, Pilnyak’s “Chinese Story,” 71; and superiority of the “cine-eye” over the education, and career, 235-37; biographies of Mao Zedong and Zhu De, 236; and human eye, 173-74; and Tretyakov’s “Beijing,” 47-54; visual parallelism in Internationals Literature (journal), 236-40; Shanghai Document, 169-70. See ako montage; observation Voitinsky, Grigory, 16,41,251Ո51 VOKS. See All-Union Society for Cultural Relations with Foreign Countries Volga Boatman, The (1926 film), 161 Volkov, Nikolai, 113-14 Voltaire, 9,14 Vostokkino, 160,168 Wang Jiaxiang, 121 Wang Jingwei, 153,223-34 Wanxian incident (1924), 85,93-97 Warrant, The (Erdman play), 102 “What Is to Be Done with Ballet?” (article), 89 “Whence and Wither?” (Tretyakov essay), 23-24, 210 Widdis, Emma, 135 Wings of Fire (Zhurakovsky), 294Ո27 Witt, Susanna, 275Ո112 Wollen, Peter, 136 Wong, Anna May, 87, 287Ո88 woodblocks, 110 workers. See proletarians/laborers World War 1,10-11,40 Wu Peifu, 163 Xiang Bikui, 95 Xiao Jun, 235 poetry, 236-40,306Ո40; publications, 236-40 Xinhai Revolution (1911-1912), 11,193,194 Xiong Kewu, 194 Yaroslavsky, Emilian, 170 Yellow Jacket, The (Lehar play), 86, 87, 89 Yellow Peril, 10,15 Yellow Peril, The. See under Dzhungo Yerokhonov, Leonid, 168 Ye Shengtao, 168,235 Young, Robert, 7 Yu Dafu, 77 Yu Min-ling, 292Ո3 Zagorsky, Mikhail, 102 Zaria vostoka (newspaper), 42 Zeng Xiufu, 123,124-25 Zhang Peijue (Zhang Liewu), 194,294Ո30 Zhang Xueliang, 153
Zhang Yiping, 235 Zhang Zuolin, 14,163 Zhao Jiabi, 209 Zhizri iskusstva (journal), 89 zhongguo (Chinese name for Chinese state), 45.47 Zhu De, 235,236 Zhurakovsky, Nikolai, 294Ո27 Zhu Zhongli, 121 Zinoviev, Grigory, 14,146 Zoyas Apartment (Bulgakov play), 107 Bayerische Staatsbibliothek München л J |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Tyerman, Edward |
| author_GND | (DE-588)1254844619 |
| author_facet | Tyerman, Edward |
| author_role | aut |
| author_sort | Tyerman, Edward |
| author_variant | e t et |
| building | Verbundindex |
| bvnumber | BV047802640 |
| classification_rvk | NQ 5055 |
| contents | Introduction: China and early Soviet culture -- Sight, sound, and similarity: Soviet writers travel to China -- Translating China onstage: Roar, China! and The red poppy -- Through an internationalist lens: China in early Soviet cinema -- Confessions and collaborations: authority, agency, agency and factographic internationalism in Den Shi-khua -- Epilogue: International literature, national form, and missed connections |
| ctrlnum | (OCoLC)1288267419 (DE-599)BVBBV047802640 |
| discipline | Geschichte |
| discipline_str_mv | Geschichte |
| era | Geschichte 1920-1929 gnd |
| era_facet | Geschichte 1920-1929 |
| format | Book |
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Their artistic experiments constituted a search for an "internationalist aesthetics": a mode of representation that could overcome the exoticism of imperialist culture and produce transnational sympathies between populations previously considered culturally distant. Contributing to a recent cultural turn in the study of socialist internationalism, Internationalist Aesthetics positions China in the 1920s as the central space for Soviet culture's attempt to imagine how internationalism was supposed to look and feel. Tyerman traces the reimagining of China through the multiple genres and media of the early Soviet cultural system, including reportage, film, theater, and biography. 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| geographic_facet | China Sowjetunion |
| id | DE-604.BV047802640 |
| illustrated | Illustrated |
| index_date | 2024-07-03T19:02:50Z |
| indexdate | 2024-07-10T09:21:46Z |
| institution | BVB |
| isbn | 9780231199193 9780231199186 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033186349 |
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| physical | xi, 353 Seiten Illustrationen |
| psigel | BSB_NED_20220408 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Columbia University Press |
| record_format | marc |
| spelling | Tyerman, Edward Verfasser (DE-588)1254844619 aut Internationalist aesthetics China and early Soviet culture Edward Tyerman New York Columbia University Press [2022] ©2022 xi, 353 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Introduction: China and early Soviet culture -- Sight, sound, and similarity: Soviet writers travel to China -- Translating China onstage: Roar, China! and The red poppy -- Through an internationalist lens: China in early Soviet cinema -- Confessions and collaborations: authority, agency, agency and factographic internationalism in Den Shi-khua -- Epilogue: International literature, national form, and missed connections "While the Third Communist International (Comintern) supported nationalist revolution in China, Soviet writers and film-makers traveled to China, met with Chinese students in Moscow, and sought to reimagine China for a Soviet audience as the next site of world revolution. Their artistic experiments constituted a search for an "internationalist aesthetics": a mode of representation that could overcome the exoticism of imperialist culture and produce transnational sympathies between populations previously considered culturally distant. Contributing to a recent cultural turn in the study of socialist internationalism, Internationalist Aesthetics positions China in the 1920s as the central space for Soviet culture's attempt to imagine how internationalism was supposed to look and feel. Tyerman traces the reimagining of China through the multiple genres and media of the early Soviet cultural system, including reportage, film, theater, and biography. This account offers new insight into the transnational dynamics that shaped Soviet culture and socialist aesthetics, and illuminates a crucial chapter in Sino-Russian relations, one of the most significant international relationships of the twentieth and twenty-first centuries"-- Geschichte 1920-1929 gnd rswk-swf Kultur (DE-588)4125698-0 gnd rswk-swf Chinabild (DE-588)4122097-3 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf China (DE-588)4009937-4 gnd rswk-swf Sowjetunion (DE-588)4077548-3 gnd rswk-swf Soviet Union / Foreign relations / China China / Foreign relations / Soviet Union China / In mass media Communism and culture / Soviet Union / History Communist aesthetics Mass media and culture / Soviet Union / History China / Foreign public opinion, Soviet Union Soviet Union / Foreign public opinion, Chinese Communism and culture Diplomatic relations Mass media Mass media and culture Public opinion, Chinese China Soviet Union History Sowjetunion (DE-588)4077548-3 g Chinabild (DE-588)4122097-3 s Geschichte 1920-1929 z DE-604 China (DE-588)4009937-4 g Rezeption (DE-588)4049716-1 s Kultur (DE-588)4125698-0 s Erscheint auch als Online-Ausgabe 978-0-231-55298-1 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Tyerman, Edward Internationalist aesthetics China and early Soviet culture Introduction: China and early Soviet culture -- Sight, sound, and similarity: Soviet writers travel to China -- Translating China onstage: Roar, China! and The red poppy -- Through an internationalist lens: China in early Soviet cinema -- Confessions and collaborations: authority, agency, agency and factographic internationalism in Den Shi-khua -- Epilogue: International literature, national form, and missed connections Kultur (DE-588)4125698-0 gnd Chinabild (DE-588)4122097-3 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)4125698-0 (DE-588)4122097-3 (DE-588)4049716-1 (DE-588)4009937-4 (DE-588)4077548-3 |
| title | Internationalist aesthetics China and early Soviet culture |
| title_auth | Internationalist aesthetics China and early Soviet culture |
| title_exact_search | Internationalist aesthetics China and early Soviet culture |
| title_exact_search_txtP | Internationalist aesthetics China and early Soviet culture |
| title_full | Internationalist aesthetics China and early Soviet culture Edward Tyerman |
| title_fullStr | Internationalist aesthetics China and early Soviet culture Edward Tyerman |
| title_full_unstemmed | Internationalist aesthetics China and early Soviet culture Edward Tyerman |
| title_short | Internationalist aesthetics |
| title_sort | internationalist aesthetics china and early soviet culture |
| title_sub | China and early Soviet culture |
| topic | Kultur (DE-588)4125698-0 gnd Chinabild (DE-588)4122097-3 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Kultur Chinabild Rezeption China Sowjetunion |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033186349&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT tyermanedward internationalistaestheticschinaandearlysovietculture |