具体描述
In a conversational style and in chronological sequence, Ye Weili and Ma Xiaodong recount their earlier lives in China from the 1950s to the 1980s, a particularly eventful period that included the catastrophic Cultural Revolution. Using their own stories as two case studies, they examine the making of a significant yet barely understood generation in recent Chinese history. They also reflect upon the mixed legacy of the early decades of the People's Republic of China (PRC). In doing so, the book strives for a balance between critical scrutiny of a complex era and the sweeping rejection of that era that recent victim literature embraces. Ultimately Ye and Ma intend to reconnect themselves to a piece of land and a period of history that have given them a sense of who they are. Their stories contain intertwining layers of personal, generational, and historical experiences. Unlike other memoirs that were written soon after the events of the Cultural Revolution, Ye and Ma's narratives have been put together some twenty years later, allowing for more critical distance. The passage of time has allowed them to consider important issues that other accounts omit, such as the impact of gender during this period of radical change in Chinese women's lives.
作者简介
WEILI YE is an Associate Professor of History and Women's Studies at University of Massachusetts, Boston, USA. She is author of Seeking Modernity in China's Name: Chinese Students in the United States, 1900-1927.
目录信息
'Flowers of the Nation'
From Paper Crown to Leather Belt
Up to the Mountains and Down to the Countryside
Worker-peasant-solider Students
The Reform Era
Afterword
· · · · · · (收起)
读后感
（已发表于2014年第56期《领导者》杂志，谢绝转载。） 几乎所有与文革有关的影视文学作品，都绕不开大字报、红宝书、批斗“牛鬼蛇神”等典型元素，但姜文在电影《阳光灿烂的日子》里，却将之一概摒弃。明明是拍摄十年动乱，导演回忆的，却是捉弄老师、追女孩儿、偷看内部色情...
评分回忆总是带着强烈的感情色彩，记忆的屏幕上留下的只是你愿意留下的场景，而屏蔽了那些不堪回首的内容。所以同样是“上山下乡”，在成功者眼里是“青春无悔”，而对于失意者来说则是绵绵不绝的怨怼。事情的真相需要拉开一段距离才能比较客观地呈现。最近我读了《炎黄春秋》...
评分（已发表于2014年第56期《领导者》杂志，谢绝转载。） 几乎所有与文革有关的影视文学作品，都绕不开大字报、红宝书、批斗“牛鬼蛇神”等典型元素，但姜文在电影《阳光灿烂的日子》里，却将之一概摒弃。明明是拍摄十年动乱，导演回忆的，却是捉弄老师、追女孩儿、偷看内部色情...
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评分回忆总是带着强烈的感情色彩，记忆的屏幕上留下的只是你愿意留下的场景，而屏蔽了那些不堪回首的内容。所以同样是“上山下乡”，在成功者眼里是“青春无悔”，而对于失意者来说则是绵绵不绝的怨怼。事情的真相需要拉开一段距离才能比较客观地呈现。最近我读了《炎黄春秋》...
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