LEADER 04052nam 2200721 a 450 001 9910810231103321 005 20200520144314.0 010 $a1-282-94984-5 010 $a9786612949845 010 $a90-474-3088-3 035 $a(CKB)2670000000066261 035 $a(EBL)635090 035 $a(OCoLC)695990304 035 $a(SSID)ssj0000439359 035 $a(PQKBManifestationID)11312609 035 $a(PQKBTitleCode)TC0000439359 035 $a(PQKBWorkID)10464323 035 $a(PQKB)10932883 035 $a(MiAaPQ)EBC635090 035 $a(OCoLC)427857579$z(OCoLC)424556163 035 $a(nllekb)BRILL9789047430889 035 $a(Au-PeEL)EBL635090 035 $a(CaPaEBR)ebr10439102 035 $a(CaONFJC)MIL294984 035 $a(PPN)170414493 035 $a(EXLCZ)992670000000066261 100 $a20090723d2010 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMaoist model theatre$b[electronic resource] $ethe semiotics of gender and sexuality in the Chinese Cultural Revolution (1966-1976) /$fby Rosemary A. Roberts 210 $aLeiden [Netherlands] ;$aBoston $cBrill$d2010 215 $a1 online resource (312 p.) 225 1 $aWomen and gender in China studies,$x1877-5772 ;$vv. 2 300 $aDescription based upon print version of record. 311 $a90-04-17744-2 320 $aIncludes bibliographical references, filmography and index. 327 $tPreliminary Material /$rR. Roberts --$tChapter One. Introduction: Gender And The Model Works /$rR. Roberts --$tChapter Two. Role Assignment And Gender: Resetting The Paradigms /$rR. Roberts --$tChapter Three. Costume In The Yangbanxi: Gendering The Revolutionary Body /$rR. Roberts --$tChapter Four. Gender And The Kinesics Of Yangbanxi Ballet /$rR. Roberts --$tChapter Five. Feminising Leadership In Song Of The Dragon River /$rR. Roberts --$tChapter Six. The Yangbanxi Heroine And The Historical Tradition Of The Chinese Woman Warrior /$rR. Roberts --$tChapter Seven. Gendering The Counter-Revolution: The Feminisation Of Villainy /$rR. Roberts --$tChapter Eight. The Yangbanxi And Gender Identities In Post-Maoist China /$rR. Roberts --$tBibliography /$rR. Roberts --$tYangbanxi Filmography /$rR. Roberts --$tIndex /$rR. Roberts. 330 $aHere is a convincing reflection that changes our understanding of gender in Maoist culture, esp. for what critics from the 1990's onwards have termed its ?erasure? of gender and sexuality. In particular the strong heroines of the yangbanxi, or ?model works? which dominated the Cultural Revolution period, have been seen as genderless revolutionaries whose images were damaging to women. Drawing on contemporary theories ranging from literary and cultural studies to sociology, this book challenges that established view through detailed semiotic analysis of theatrical systems of the yangbanxi including costume, props, kinesics, and various audio and linguistic systems. Acknowledging the complex interplay of traditional, modern, Chinese and foreign gender ideologies as manifest in the 'model works', it fundamentally changes our insights into gender in Maoist culture. 410 0$aWomen and gender in China studies ;$vv. 2. 606 $aTheater$xPolitical aspects$zChina$xHistory$y20th century 606 $aGender identity in the theater$zChina 606 $aSex in the theater 606 $aWomen in the theater$zChina 606 $aWomen and communism$zChina 606 $aCommunism and sex$zChina 615 0$aTheater$xPolitical aspects$xHistory 615 0$aGender identity in the theater 615 0$aSex in the theater. 615 0$aWomen in the theater 615 0$aWomen and communism 615 0$aCommunism and sex 676 $a792.0951 700 $aRoberts$b Rosemary A$01721070 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810231103321 996 $aMaoist model theatre$94120271 997 $aUNINA