有争议的记忆:一个中国女性革命烈士的想象博物馆,刘胡兰

IF 1 4区 社会学 Q2 AREA STUDIES Modern China Pub Date : 2023-05-23 DOI:10.1177/00977004231170267
Xian Wang
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引用次数: 0

摘要

在过去的几年里,中国政府一直试图通过控制民族记忆来维护意识形态的主导地位,并重建共产党政权的合法性。虽然集体记忆是由执政政府通过意识形态操纵塑造的,但它也在文学、媒体和艺术中被重新诠释。本文考察了一位年轻女性革命烈士刘胡兰(1932-1947)的国家认可叙事和复制品,以探讨使刘胡兰成为烈士的过程如何促成集体记忆,性别和性行为如何支持或问题化国家支持的意识形态,以及当代对刘胡兰殉难的重写如何质疑国家意识形态和民族主义。本文为刘胡兰建立了一个虚构的博物馆,将官方记忆与反记忆并置展出。这表明,贞节和传统的性别角色在女性革命烈士的创作和纪念中始终受到关注。
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Contested Memories: An Imaginary Museum for a Chinese Female Revolutionary Martyr, Liu Hulan
Over the past few years, the Chinese government has sought to assert ideological dominance and rebuild the legitimacy of the Communist Party regime through control of national memory. Although collective memory is shaped by the ruling government through ideological maneuvering, it is also reinterpreted in literature, media, and art. This article examines both the state-sanctioned narratives and the reproductions of one young female revolutionary martyr, Liu Hulan (1932–1947), to explore how the process of making Liu a martyr contributed to collective memory, how gender and sexuality support or problematize state-sponsored ideology, and how contemporary rewritings of Liu’s martyrdom question state ideology and nationalism. This article establishes an imaginary museum for Liu Hulan, exhibiting official memories and countermemories in juxtaposition. It shows that chastity and traditional gender roles remain constant concerns in the creation and commemoration of female revolutionary martyrs.
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来源期刊
Modern China
Modern China AREA STUDIES-
CiteScore
1.70
自引率
10.00%
发文量
26
期刊介绍: Published for over thirty years, Modern China has been an indispensable source of scholarship in history and the social sciences on late-imperial, twentieth-century, and present-day China. Modern China presents scholarship based on new research or research that is devoted to new interpretations, new questions, and new answers to old questions. Spanning the full sweep of Chinese studies of six centuries, Modern China encourages scholarship that crosses over the old "premodern/modern" and "modern/contemporary" divides.
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