By Yiran Zheng
One of the oldest towns on the planet, Beijing was once an imperial capital for hundreds of years. After the founding of the People’s Republic of China in 1949, Beijing grew to become not just the political heart of the recent communist nation, but additionally the signifier of socialist ideol-ogy and progressive tradition. Now, within the twenty first century, Beijing embodies worldwide conflicts and international connections. Over the process the final century, then, Beijing moved from the vital “traditional” capital to the emblem of communist city shape and eventually to a worldly city. those 3 levels within the background of Beijing and its moving representations are the subject of this research.
Like different capitals, Beijing is way greater than its actual entity. It additionally features as an idea, a illustration. As urban planners have (and proceed to) current Beijing to the realm as a version, the fluctuating photographs of Beijing became solidified in city house. this present day, the city type of Beijing juxtaposes assorted areas that span centuries, embodying some of the representations of the town through its planners in several eras. those representations of area additionally supply probabilities for writers to reconsider and rebuild town of their literary works. chinese language writers and filmmakers frequently essentialize these city areas via making them symbols of other city cultures, the outdated homes representing “traditional,” “patriarchal” chinese language tradition whereas soviet-style constructions mirror revolu-tionary tradition. ultimately, the more moderen sprouting of residences, condos, and townhouses stands for the invasion of western modernity and offers proof of world capitalism in modern China.
Inspired via Henri Lefebvre, this examine establishes a framework that connects city areas (representations of area) to writers and literary productions (representational space). I examine the 3 significant city spatial varieties of conventional, communist, and glob-alized Beijing and think about what those city areas suggest to chinese language writers and filmmakers in addition to how they use them to configure specific photographs of Beijing. I argue that those varied configurations are literally the projections of these writers and filmmakers’ personal cultural imaginations; they impress a sort of emotional catharsis and likewise produce replacement visions of the cityscape.