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.Then thequestion we must ask ourselves is: What are the political agendas of the critical discourse ofglobalization?NotesAll translations are mine, unless specified otherwise.This essay was first published in boundary 223 , no.3 ( fall 1996): 193 -218.1.It is crucially relevant here to reflect on the effects of global media and communications thatproduce the political, ideological, and cultural artifact called "China." Although the cold warcaricature of the Evil Empire, that is, the former Soviet Union, has lost its referent, itsvocabulary lingers, and has recently intensified, in the U.S.media representation of China,focusing primarily on the issue of "human rights violations." In contrast to the marginal andnegligible influence of critical intellectuals on most domestic and international issues, the U.S.academy plays a critical role in fostering the American public image of China (and ofother countries, especially the non-Western and/or the so-called third world).An example isthe recent popularity of books disclosing the corruption of Chinese leaders, such as HarrisonE.Salisbury, The New Emperors: China in the Era of Mao and Deng ( New York, 1992);Nicholas Kristoff and Sheryl WuDunn , China Wakes: The Struggle for the Soul of a RisingPower ( New York,-183- file:///C|/Archivos%20de%20programa/eMule/Incoming/Stanley%20Fis.Jameson%20(Ed)%201998%20The%20Cultures%20Of%20Globalization.html1994); and Li Zhisui, The Private Life of Chairman Mao ( New York, 1994).Perry Link, amajor China specialist from Princeton, lends his authority to the latest biography of Mao in alengthy book review in the Times Literary Supplement, reiterating an image of Mao as "thefreest person in China yet fond of rebellion, refusing to brush his teeth, dependent onbarbiturates and sexually insatiable" ( TLS, 28 October 1994).2.For the newly booming Chinese film studies, see Nick Browne et al., eds., New ChineseCinemas: Forms, Identities, Politics ( Cambridge, UK, 1994); Chris Berry, ed., Perspectiveson Chinese Cinema ( London, 1992); and George Semsel et al., eds., Film in ContemporaryChina: Critical Debates, 1979-1989 ( New York, 1993).3.The left cultural criticism has recently begun to pay attention to the area of AsiaPacific,where China's role becomes increasingly critical.See Rob Wilson and Arif Dirlik, eds., Asia/Pacific as Space of Cultural Production, special issue of boundary 221, no.1 (spring 1994),and Arif Dirlik, ed., What Is in a Rim? -Critical Perspectives on the Pacific Region Idea( Boulder, CO, 1993).Discussions of China's current position in Asia-Pacific "culturalproduction," however, are missing in these volumes.4.Fredric Jameson, foreword to Politics, Ideology, and Literary Discourse in Modern China,ed.Liu Kang and Xiaobing Tang ( Durham, NC, 1993), 3.5.For discussions of modernity see, for instance, Marshall Berman, All That Is Solid Melts intoAir: The Experiences of Modernity ( New York, 1988), and Jürgen Haber- mas, "Modernity-- An Incomplete Project," in The Anti-Aesthetic -- Essays on Postmodern Culture, ed.HalFoster (Port Townsend, WA, 1983), 3 - 15.For more detailed discussions of alternativemodernity and Chinese revolution, see Liu Kang , Aesthetics and Marxism: ChineseAesthetic Marxists and Their Western Contemporaries ( Durham, NC, forthcoming), and LiuKang, "The Problematics of Mao and Althusser: Alternative Modernity and CulturalRevolution," Rethinking Marxism, 8, no.3 ( 1995): 1 - 26.6.Benedict Anderson, Imagined Communities ( London, 1983), 145.7.For recent works on nationalism, see Ernest Gellner, Nations and Nationalism ( Oxford,1983); Anderson, Imagined Communities; and Homi Bhabha, ed., Nation and Narration( London, 1990).All these works presuppose a unilateral, Eurocentric model of modernity,even though some set out to critique Eurocentrism.8.Frantz Fanon, The Wretched of the Earth, trans.Constance Farrington (Harmondsworth, UK,1967), 168.9.Mao Zedong, The Role of the Chinese Communist Party in the National War ( 1938),Selected Works of Mao Tse-tung, vol.2 ( Peking, 1967), 209.10.Ibid.11.On the issue of "Chinese Marxism," see Arif Dirlik's indispensable works in the field,including, for example, After the Revolution: Waking to Global Capitalism ( Hanover, NH,1994), especially chap.2, "The Marxist Narrative of Development and Chinese Marxism."-184- file:///C|/Archivos%20de%20programa/eMule/Incoming/Stanley%20Fis.Jameson%20(Ed)%201998%20The%20Cultures%20Of%20Globalization.html12.Renmin ribao (People's daily) ( overseas ed.), 8 October 1994; 6 October 1994.13.Renmin ribao (People's daily) ( overseas ed.), 6 September 1994.14.The revival of Confucianism or new Confucianism, first starting in Hong Kong and Taiwan,then extending to Singapore, South Korea, and the United States, where it finds perhaps itsstrongest advocates, such as Tu Wei-ming from Harvard and Yu Ying-shih from Princeton, isintimately related to the so-called East Asian economic miracle and the success of capitalistdevelopments of the so-called East Asian model.This "global Confucianism," as Arif Dirlikputs it, "has been rendered into a prime mover of capitalist development and has also foundquite a sympathetic ear among First World ideologues who now look to a Confucian ethic torelieve the crisis of capitalism" ( The Postcolonial Aura: Third World Criticism in the Age ofGlobal Capitalism, Critical Inquiry 20 [ 1994], 341 ).15.Anthony Giddens, among others, observes the "rise of local nationalism" in the context ofcapitalist globalization.See The Consequences of Modernity ( Cambridge, UK, 1990),especially 63-78.16.Wallerstein differentiates between "nationalism of resistance" and "nationalism ofdomination" in The Politics of the World-Economy: The States, the Movements, and theCivilizations ( Cambridge, UK, 1984), 130.17.The paradigm of tradition/modernity was promoted by a group of young scholars associatedwith the journal Wenhuan: Zhongguo yu shijie (Culture: China and the world) and thetranslation project, Twentieth-Century Western Scholarly Classics.Without counting theinfluence of the same paradigm of modern China studies in the West, the purpose of theChinese critics of the 1980s was to replace the older opposition of "Western culture/Chineseculture" with "tradition/ modernity" in their reinterpretation of modern Chinese cultural andintellectual history.Although they did not purposefully elide and suppress the revolutionarylegacy, these critics took the problematic of modernity as their guiding episteme withoutquestioning its historical specificity.See Gan Yang, ed [ Pobierz caÅ‚ość w formacie PDF ]
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.Then thequestion we must ask ourselves is: What are the political agendas of the critical discourse ofglobalization?NotesAll translations are mine, unless specified otherwise.This essay was first published in boundary 223 , no.3 ( fall 1996): 193 -218.1.It is crucially relevant here to reflect on the effects of global media and communications thatproduce the political, ideological, and cultural artifact called "China." Although the cold warcaricature of the Evil Empire, that is, the former Soviet Union, has lost its referent, itsvocabulary lingers, and has recently intensified, in the U.S.media representation of China,focusing primarily on the issue of "human rights violations." In contrast to the marginal andnegligible influence of critical intellectuals on most domestic and international issues, the U.S.academy plays a critical role in fostering the American public image of China (and ofother countries, especially the non-Western and/or the so-called third world).An example isthe recent popularity of books disclosing the corruption of Chinese leaders, such as HarrisonE.Salisbury, The New Emperors: China in the Era of Mao and Deng ( New York, 1992);Nicholas Kristoff and Sheryl WuDunn , China Wakes: The Struggle for the Soul of a RisingPower ( New York,-183- file:///C|/Archivos%20de%20programa/eMule/Incoming/Stanley%20Fis.Jameson%20(Ed)%201998%20The%20Cultures%20Of%20Globalization.html1994); and Li Zhisui, The Private Life of Chairman Mao ( New York, 1994).Perry Link, amajor China specialist from Princeton, lends his authority to the latest biography of Mao in alengthy book review in the Times Literary Supplement, reiterating an image of Mao as "thefreest person in China yet fond of rebellion, refusing to brush his teeth, dependent onbarbiturates and sexually insatiable" ( TLS, 28 October 1994).2.For the newly booming Chinese film studies, see Nick Browne et al., eds., New ChineseCinemas: Forms, Identities, Politics ( Cambridge, UK, 1994); Chris Berry, ed., Perspectiveson Chinese Cinema ( London, 1992); and George Semsel et al., eds., Film in ContemporaryChina: Critical Debates, 1979-1989 ( New York, 1993).3.The left cultural criticism has recently begun to pay attention to the area of AsiaPacific,where China's role becomes increasingly critical.See Rob Wilson and Arif Dirlik, eds., Asia/Pacific as Space of Cultural Production, special issue of boundary 221, no.1 (spring 1994),and Arif Dirlik, ed., What Is in a Rim? -Critical Perspectives on the Pacific Region Idea( Boulder, CO, 1993).Discussions of China's current position in Asia-Pacific "culturalproduction," however, are missing in these volumes.4.Fredric Jameson, foreword to Politics, Ideology, and Literary Discourse in Modern China,ed.Liu Kang and Xiaobing Tang ( Durham, NC, 1993), 3.5.For discussions of modernity see, for instance, Marshall Berman, All That Is Solid Melts intoAir: The Experiences of Modernity ( New York, 1988), and Jürgen Haber- mas, "Modernity-- An Incomplete Project," in The Anti-Aesthetic -- Essays on Postmodern Culture, ed.HalFoster (Port Townsend, WA, 1983), 3 - 15.For more detailed discussions of alternativemodernity and Chinese revolution, see Liu Kang , Aesthetics and Marxism: ChineseAesthetic Marxists and Their Western Contemporaries ( Durham, NC, forthcoming), and LiuKang, "The Problematics of Mao and Althusser: Alternative Modernity and CulturalRevolution," Rethinking Marxism, 8, no.3 ( 1995): 1 - 26.6.Benedict Anderson, Imagined Communities ( London, 1983), 145.7.For recent works on nationalism, see Ernest Gellner, Nations and Nationalism ( Oxford,1983); Anderson, Imagined Communities; and Homi Bhabha, ed., Nation and Narration( London, 1990).All these works presuppose a unilateral, Eurocentric model of modernity,even though some set out to critique Eurocentrism.8.Frantz Fanon, The Wretched of the Earth, trans.Constance Farrington (Harmondsworth, UK,1967), 168.9.Mao Zedong, The Role of the Chinese Communist Party in the National War ( 1938),Selected Works of Mao Tse-tung, vol.2 ( Peking, 1967), 209.10.Ibid.11.On the issue of "Chinese Marxism," see Arif Dirlik's indispensable works in the field,including, for example, After the Revolution: Waking to Global Capitalism ( Hanover, NH,1994), especially chap.2, "The Marxist Narrative of Development and Chinese Marxism."-184- file:///C|/Archivos%20de%20programa/eMule/Incoming/Stanley%20Fis.Jameson%20(Ed)%201998%20The%20Cultures%20Of%20Globalization.html12.Renmin ribao (People's daily) ( overseas ed.), 8 October 1994; 6 October 1994.13.Renmin ribao (People's daily) ( overseas ed.), 6 September 1994.14.The revival of Confucianism or new Confucianism, first starting in Hong Kong and Taiwan,then extending to Singapore, South Korea, and the United States, where it finds perhaps itsstrongest advocates, such as Tu Wei-ming from Harvard and Yu Ying-shih from Princeton, isintimately related to the so-called East Asian economic miracle and the success of capitalistdevelopments of the so-called East Asian model.This "global Confucianism," as Arif Dirlikputs it, "has been rendered into a prime mover of capitalist development and has also foundquite a sympathetic ear among First World ideologues who now look to a Confucian ethic torelieve the crisis of capitalism" ( The Postcolonial Aura: Third World Criticism in the Age ofGlobal Capitalism, Critical Inquiry 20 [ 1994], 341 ).15.Anthony Giddens, among others, observes the "rise of local nationalism" in the context ofcapitalist globalization.See The Consequences of Modernity ( Cambridge, UK, 1990),especially 63-78.16.Wallerstein differentiates between "nationalism of resistance" and "nationalism ofdomination" in The Politics of the World-Economy: The States, the Movements, and theCivilizations ( Cambridge, UK, 1984), 130.17.The paradigm of tradition/modernity was promoted by a group of young scholars associatedwith the journal Wenhuan: Zhongguo yu shijie (Culture: China and the world) and thetranslation project, Twentieth-Century Western Scholarly Classics.Without counting theinfluence of the same paradigm of modern China studies in the West, the purpose of theChinese critics of the 1980s was to replace the older opposition of "Western culture/Chineseculture" with "tradition/ modernity" in their reinterpretation of modern Chinese cultural andintellectual history.Although they did not purposefully elide and suppress the revolutionarylegacy, these critics took the problematic of modernity as their guiding episteme withoutquestioning its historical specificity.See Gan Yang, ed [ Pobierz caÅ‚ość w formacie PDF ]