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Two completely different factors come into the picture, namely Gaullism and Italy.
A hidden but deep correspondence had always existed between Gaullists and Maoists. Both emphasised the importance of historical roots and long-term perspectives, for France de toujours as well as for the Sons of the Han on their everlasting Yellow Earth. Both had refused to align their nuclear policies with the strategies of the superpowers. André Malraux's visit to China in the 1960s, both as a former activist in the 1926-27 revolution and as a prominent Gaullist intellectual, was a symbolic episode, much publicised in France. Had General de Gaulle not died suddenly in 1970, he most probably would have paid Mao Zedong the visit already arranged by his old companion Etienne Manach, then French Ambassador to Peking. It would have been an extraordinary performance, in both the grand French and Chinese traditions.
Italy was also very influential. There has always been a special connection between Italy and China. Chinese intellectuals have always felt very much at home in Italy, and the active sympathy for Maoist China of such prominent Italian intellectuals as Malaparte, Alberto Moravia and Maria-Antonietta Macchiocchi certainly made an impact on Parisian literary circles. Altogether, many influential French intellectuals were in those years very keen on visiting China and however brief their visit publicising their sympathy for China. Be they Claude Roy, Etiemble, Roland Barthes, Philippe Sollers, Julia Kristeva18 or many others, their individual approaches may have differed one from another, but they were all indulging in China as if their commitment to China was more important than China itself. They also affected a definitely revivalistic attitude, as if they were the new sinophiles in the grand eighteenth-century tradition.
By and large, Maoist China was very chic in French cultural life of the 1950s and 1960s. The theatres were packed full at every Peking Opera visit, the books of Han Suyin sold very well, Chinese exhibitions of art at the Grand Palais were a must, the veteran film-director Joris Ivens, Dutch by birth but settled in France, embarked on a 12-hour film on Yu Gong and People's China's achievements, and the well-established literary publishing series
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two completely different factors come into the picture, namely Gaullism and Italy.
A hidden but deep correspondence had always existed between Gaullists and Maoists. Both emphasised the importance of his- torical roots and long-term perspectives, for France de toujours as well as for the Sons of the Han on their everlasting Yellow Earth. Both had refused to align their nuclear policies with the strategies of the superpowers. André Malraux's visit to China in the 1960s, both as a former activist in the 1926-27 revolution and as a promi- nent Gaullist intellectual, was a symbolic episode, much publi- cised in France. Had General de Gualle not died suddenly in 1971, he most probably would have paid Mao Zedong the visit already arranged by his old companion Etienne Manach, then French Am- bassador to Peking. It would have been an extraordinary perfor- mance, in both the grand French and Chinese traditions.
Italy was also very influential. There has always been a special connection between Italy and China. Chinese intellectuals have always felt very much at home in Italy, and the active sympathy for Maoist China of such prominent Italian intellectuals as Malaparte, Alberto Moravia and Maria-Antonietta Macchiocchi certainly made an impact on Parisian literary circles. Altogether, many influential French intellectuals were in those years very keen on visiting China and however brief their visit publicising their sympathy for China. Be they Claude Roy, Etiemble, Roland Barthes, Philippe Sollers, Julia Kristeva18 or many others, their individual approaches may have differed one from another, but they were all indulging in China as if their commitment to China was more important than China itself. They also affected a definitely revivalistic attitude, as if they were the new sinophiles in the grand eighteenth-century tradition.
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By and large, Maoist China was very chic in French cultural life of the 1950s and 1960s. The theatres were packed full at every Peking Opera visit, the books of Han Suyin sold very well, Chi- nese exhibitions of art at the Grand Palais were a must, the veteran film-director Joris Ivens, Dutch by birth but settled in France, embarked on a 12-hour film on Yu Gong and People's China's achievements, and the well-established literary publishing series
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