Aminda M. Smith＇s bold and thought-provoking first book examines the reeducation of China＇s ＂dangerous classes＂ in the 1950s, using the process of thought reform to study how the new party-state answered the follo...Aminda M. Smith＇s bold and thought-provoking first book examines the reeducation of China＇s ＂dangerous classes＂ in the 1950s, using the process of thought reform to study how the new party-state answered the following question ＂What makes a vast population of heterogeneous individuals into the Chinese People？＂ （p. 11）. With an array of primary source materials including government documents from the Beijing Municipal Archive,展开更多
This paper examines the relationship between the state and art collectors during the 1950s and 1960s in Shanghai. It explores how the state gained control over art and collecting, by building state museums, by co-opti...This paper examines the relationship between the state and art collectors during the 1950s and 1960s in Shanghai. It explores how the state gained control over art and collecting, by building state museums, by co-opting connoisseurs and their collections, and by extending ＂socialist transformation＂ to the antiquities market in 1956. However, state control was far from complete, and some trade in antiquities continued outside of official channels. To crack down on this illegal trade, cultural authorities in Shanghai launched a Five-Antis Campaign in 1964 to punish alleged art speculators. Through its cultural institutions and political campaigns, the state controlled culture but did not monopolize it.展开更多
文摘Aminda M. Smith＇s bold and thought-provoking first book examines the reeducation of China＇s ＂dangerous classes＂ in the 1950s, using the process of thought reform to study how the new party-state answered the following question ＂What makes a vast population of heterogeneous individuals into the Chinese People？＂ （p. 11）. With an array of primary source materials including government documents from the Beijing Municipal Archive,
文摘This paper examines the relationship between the state and art collectors during the 1950s and 1960s in Shanghai. It explores how the state gained control over art and collecting, by building state museums, by co-opting connoisseurs and their collections, and by extending ＂socialist transformation＂ to the antiquities market in 1956. However, state control was far from complete, and some trade in antiquities continued outside of official channels. To crack down on this illegal trade, cultural authorities in Shanghai launched a Five-Antis Campaign in 1964 to punish alleged art speculators. Through its cultural institutions and political campaigns, the state controlled culture but did not monopolize it.
