1966, the inaugural year of China’s Great Proletarian Cultural Revolution, was also the thirtieth anniversary of Lu Xun’s death. Quotations from and praise of China’s best known and preeminent modern writer were in abundance that year and an official commemorative event, reportedly attended by more than seventy thousand people, was held in Beijing. The anniversary date presented the Maoist state with a prime opportunity for boosting the cultural and intellectual authority of their doctrinal assertions by association with Lu Xun. In (...) asking what Lu Xun was in 1966, I seek to bring to view the thingness of his afterlife (or afterlives) under CCP rule. This paper discusses how the Maoist treatment of Lu Xun turned him into a political icon, to add aesthetic value to Mao Zedong Thought. Insofar as aesthetics turns on what can be felt, heard, seen, sensed, touched, or imagined, aestheticization is generally accompanied by a certain process of reification. I thus consider the concrete instances by which people came to experience Lu Xun—such as selected quotations from Lu Xun, Chairman Mao’s formulations about Lu Xun, and images of the writer in poster art—focusing in particular on the widely publicized speeches presented at the official commemoration of his death in October 1966. Since the 1980s, these 1966 commemorations have been routinely disparaged in China as an aberration. To take the Maoist version of Lu Xun seriously as the careful construction of an aesthetic object is to do more than elucidate its ideological abuse of Lu Xun. By engaging productively with the Maoist craving for an ideal revolutionary comportment, we may yet catch a glimpse of the kind of world it took for Lu Xun to make sense as a Maoist icon. Without this Maoist intensity of feeling, there would not have been the post-Maoist preoccupation with recovering or defending, as it were, Lu Xun’s true or real form (if such a phenomenologically pure act is even possible). (shrink)

In Worrying about China, Gloria Davies pursues this inquiry through a wide range of contemporary topics, including the changing fortunes of radicalism, the ...

The special issue’s editors introduce the rationale for the following articles, all of which take up aspects of the relations among the production of artworks, the behavior of audiences, and the state’s interest in assembling, regulating, and transforming what it knows as its people through the responses to art.