[
    {
        "id": 212536,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 90,
        "title": "RAS-1991",
        "content_text": "70\n\nhostile rhetoric, they provided no chance for their citizens to know the other country and its people. So, when Nixon made his initiatives to open relations with China, cultural exchanges did receive certain priority, at least as a gesture to break down the fence between the two countries. He lifted restrictions against wanting to travel to China. China, similarly extended to an American table tennis team an invitation to visit China, which was accepted and the trip was made.\n\nFollowing the Nixon visit, American interest in China soon mounted. American cultural groups began to arrive. Among these visitors, the most important was the Philadelphia Orchestra, the first major Western musical group to tour this country. The Philadelphia Orchestra performed in Beijing and Shanghai, staying in China for ten days from 12-23 September 1973.\n\nIn both cities the Philadelphia Orchestra was given a very courteous reception. The then powerful Politburo members in charge of ideology and cultural affairs, Jiang Qing and Yao Wenyuan, attended their performance in Beijing and chatted with leading members of the group afterwards. Meanwhile, the media gave friendly and sufficient coverage of the event. The media even allowed a musician to publish, in a leading newspaper, a review entitled \"friendly, enthusiastic and glorious\" in which he said that the Chinese people and Chinese art workers were very pleased to have the opportunity to enjoy the performance of this world-renowned American performing group and that China could learn from the American artists. He also expressed his hope for further development of friendship between Chinese and American artists and people.\n\nThe tour by the Philadelphia Orchestra took place against the background of the contemporary impoverished Chinese artists scene. Throughout the Cultural Revolution there had been a consistent tendency to eliminate foreign influence in arts and to produce a new \"proletarian\" culture for the Chinese people. As a result, many musicians, a large number of whom had been trained in the west, were either sent to prisons or to the May 7th Cadres' Schools to receive re-education. At the same time, the surviving musical organizations could hardly perform any symphonic music, due to the political environment and lack of qualified musicians. Under such circumstances the significance of the Philadelphia Orchestra's visit could only be political, not artistic.\n\nBy their use of the media and arts as the means for power struggle,\n\nPage 90\n\nPage 91",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 212546,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 100,
        "title": "RAS-1991",
        "content_text": "80\n\nstage, the possibility was raised that the campaign would be expanded to other spheres and made nationwide, which would affect the economic reform and the open-door policy, the campaign was gradually brought to an end in early 1984.24 In the meantime, \"modernism\" in art was discouraged after an intense debate.\n\nFollowing a period of uncertainty, an air of relaxation emerged again and this air developed into a new policy to encourage freedom of artistic and literary creation. At the Fourth Congress of Writers held in early 1985, Hu Qili, a Politburo member and member of the secretariat, addressed the congress on behalf of the party central committee and called on the writers to write freely. In his speech, he claimed that **(artistic and literary) creation must be free.**\n\nThis policy of greater freedom was soon echoed in major literary journals. In 1986, this optimism even blossomed into talks of making strategies for cultural development. In an article in the Red Flag, Shanghai party secretary Rui Xingwen elaborated that socialist modernization should not be interpreted as being merely economic modernization: economic development must be accompanied by development in culture. He also advocated a more liberal approach to international arts exchanges.25 The position of Rui largely conformed with the efforts of artists and writers made before and the publication of this article showed that a new atmosphere of relaxation over cultural activities, started by Hu's speech, was still in place.\n\nAmerican attitudes\n\nI\n\nIn contrast with the situation in China, the government of the United States has much weaker control over political and cultural developments. An administration cannot influence domestic cultural development by direct or political means. Nevertheless, the U.S. government does exercise some control over its external cultural relations, through its handling of bilateral relationships with specific countries and through the USIA, an agency of the executive branch of the U.S. government which shoulders the responsibility for promoting American interests by cultural, educational, and informational exchanges. The government is also able to influence non-government organizations active in cultural exchanges to act along the same lines as the government pursues.\n\nSince 1949, cultural exchanges as a foreign policy instrument in",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 212956,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1993",
        "page_number": 24,
        "title": "RAS-1993",
        "content_text": "In the economic sphere, the concept of face also prevails. A Japanese who worked in China for quite some time thought that a strong sense of nationalistic pride among Chinese was at work. Chinese thought that being a great nation with a great history, they could achieve whatever the foreigners had accomplished. While it had been clearly stated that the country could not lose in the competition with other developing nations such as India, Taiwan, etc., China chose to spend much more time modernising her own model than learning from the developed industrial nations whose colonial spirit she refuted (Funadashi, 1985: 224-228).\n\nRegardless of the excuse of colonial spirit, Chinese people could not learn from foreigners because they thought they belonged to a superior race. To follow foreigners' steps would mean depreciation of face (Hsu, 1981: 469; Bo, 1987: 199). Even when a Chinese praises Western culture and civilization, he is bound to be called by his fellow countrymen a worshipper of the West (Bo, 1987: 69).\n\nSome Recent Observations\n\nIt is the question of face at work, the importance of it, which pervades the whole country, her culture and her people. Now, in the 1980s, face still seems to be at work. Sun Longji (1983: 60) has cited Yu Luoji's (44) and Li Shuang's (*) cases. Had they not been publicised, they would not have encountered such great reaction from the authorities. It was the revelation of these cases which put the Communist leadership into an embarrassing situation. It could not help putting heavy sentences on these two persons who openly acted against what it preached, otherwise its reputation and power as the outright governing body of China would be hampered.\n\nIn the political sphere, in the 13th National Congress of the Chinese Communist Party (the most recent session of the All-China Representatives Meeting), a new Central Committee was elected and a once powerful man, Deng Liqun, believed to have lost power in the recent shuffle, was given membership in the Central Advisory Commission. Hu Yaobang, the General Secretary having resigned in disgrace, remained in the Politburo. Hua Guofeng, the former chairman, deposed in the third comeback of Deng Xiaoping, continued his party member status. Aside from the recognition of these men's contributions as a reason for their retention of some participation in the party, it might just be evidence of Pye's postulation - avoidance of putting someone in a totally defeated",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302",
        "rank": 0
    }
]