#?
#P[80]&#A*FAmerican^ Studies^ in^ China^ #FKVol.2#FS,^ 1995/_@#a$#P[100]
#J[-100]
#T3THOUGHTS ON SINO-AMERICAN$
CULTURAL IMPACT-RESPONSE MODEL#t
#T4ZHU Shida#t
#T4I#t
Paul A. Cohen of the J. K. Fairbank Center of Harvard University in Н
his "Discovering History in China" challenges the racist-centered Н
pattern with the West as the point of departure in the studies of Н
modern Chinese history in the United States and proposes the China-Н
centered approach that is based on profound and penetrative studies of Н
the motive force for changes within Chinese society and its Н
morphological structure.$
He said that the most serious problem for the American scholars who Н
study Chinese history, especially the Chinese history after the shock Н
of the West is the distortion caused by racist-centered approaches. He Н
criticised the three racist- centered approaches: a. the impact-Н
response model; b. the tradition-modernity model; and c. imperialism Н
model. The impact-response model is most elaborated in "China's Н
Responses to the West" by Teng Ssu-Yu and John King Fairbank. The model Н
based on the formula of Western impact and Chinese response attempts Н
to interpret the leading factors in the development of Chinese history Н
in the 19th century. The tradition-modernity model deems that Chinese Н
history before the aggression of the West was in a state of super Н
stability and that only after the shock of the West that it began to Н
develop in the pattern of modern Western societies. The imperialism Н
model thinks that imperialism is the major factor and culprit that has Н
caused the all kinds of changes in Chinese politics and society.#+[1]$
Paul Cohen mainly discusses in "Discovering History in China" the Н
theoretical guidelines for the interpretation of modern Chinese Н
history. I think that his approaches in analysis have provided food Н
for thought in studying the contemporary interaction between the Н
American and Chinese culture. I have attempted, based on China-Н
centered approach, to study the socio-cultural phenomena since China Н
opened its door to the outside world in the late 1970s and discovered Н
that the shocks of American culture to Chinese culture and the Н
particular responses of the latter are in conspicuous existence in Н
Chinese social life and that such existence is spreading gradually Н
from the city to the countryside, from the elites to the lower ladders Н
of society and from the sensitive youth to the aged. The pattern of Н
"shock-response" I am discussing here is different from what John King Н
Fairbank and Teng Ssu-Yu in their "China's Responses to the West" as Н
there is no longer the obvious inertia in the China of the 1980s under Н
the guidance of Deng Xiaoping's open ideas. I take Chinese and Н
American culture all as positive media. They are all active and I call Н
the pattern of shock-response as a mutually reactive one.$
I agree with the three implications of internal approach as raised by Н
Paul Cohen: 1. In studying China, it is necessary to put the focus of Н
attention on the internal factors, instead of external factors, of Н
Chinese society; 2. The root causes for historical changes lie in Н
internal factors; 3. Studies be made first of the Chinese problems in Н
the Chinese context. He said that though the Chinese context meets Н
with growing Western influence, the inherent history of this society Н
is throughout Chinese. $К#M1Thoughts on Sino_American Cultural Impact-Response Model#m
#M2American Studies in China#m
When one recalls Chinese history in the last decade, one invariably Н
discovers that the main factors that lead to the current tremendous Н
changes in Chinese society have been the open-and-reform policy as Н
raised by Chinese leaders headed by Deng Xiaoping on the basis of Н
Chinese historical lessons. This policy has been the driving force of Н
Chinese social development in the last decade. It is precisely with Н
the policy of "assimilating and utilizing all advanced civilized Н
results created by all countries in the world, including the developed Н
capitalist countries"#+[2]_ that the dynamic cultural exchange between Н
the United States of America and China in the last decade has been Н
possible and there have been mutually reactive cultural shocks and Н
responses.$
#T4II#t
The Chinese social culture has undergone so great changes, the ideas Н
and the mind of the Chinese have been through so swift evolutions and Н
the social in-depth structure has been through so dramatic Н
transformations in the last decade that it is unprecedented in the Н
last 100 years of Chinese history.$
An open China has provided broader room for the Chinese to understand Н
the United States and the possibility of the American culture to enter Н
China. In Chinese life, there appear Mcdonald's hamburgers, hot dogs, Н
Kentucky fries, Pizza huts, Maxwell coffee, Milwaukee's Blue Ribbon Н
beer, the Henz baby food, P&G shampoo, Fun House cowboy jeans and Н
shirts, Nike and Pepsi sports shoes, Madonna and Elvis Presley's Н
music, Rock'n'Rolls, pop songs, raps, break dance, American country Н
music and the Tang instant drink. In Chinese society, there is a mania Н
for three Cs: Cartoon, Coca Cola, Cowboy. The Chinese TV stations Н
beamed such Hollywood TV series as "Growing Pains" "the Dynasty" "the Н
Eagle Crest Farm" and "the Crimes of Chicago" and there are a series Н
of special TV programs for Hollywood movies. Radio stations have Н
opened special programs for American Jazz and country music. In Н
society at large, there have been a series of manias for Toffle, GRE, Н
study in America,#+[3]_ mini-skirts, black leather jackets and trousers Н
and high leather boots. Many of the things that are in vogue in New Н
York, San Francisco and Los Angeles quickly become popular in Chinese Н
cities. So, there is a saying of "eating American culture" or "singing Н
American culture"; American culture has become a fashionable social Н
attention.$
When Wham visited China in 1985, the Chinese knew little about it and Н
even less about Rock'n'Roll. Wham received very cold audience Н
response. However, in the ensuring seven years there were born six Н
rock bands that gave a joint performance at the Capital Indoor Н
Stadium. When American Rolling Stone stars visited Beijing in 1992, Н
the audience response underwent a fundamental change. They went so far Н
as to whistle, cheer, cry, stamp their feet, throw things onto the Н
stage and turn on their cigarette lighters. Some took off their T-Н
shirts or opened their umbrellas and waved them in the air. Others Н
shot model airplanes.#+[4]_ The fans enthusiastically welcomed the songs Н
by Cui Jian, a Chinese native rock star, at the Zhejiang University Н
and the Zhejiang Provincial Indoor Stadium in November of 1992. Н
China's only set of 50 tweeters that began to blare in the company of Н
heavy metal poundings shook the soul of every audience. As the Н
audience were wildly cheering, some threw open streamers reading: "Cui НКJian, we love you!" "Cui Jian, what we want is your sharpness!" Some Н
beat bronze gongs, some whistled and others, half-naked, danced to the Н
rhythms of the heavy metals.#+[5]_ This typically American way of Н
audience response was simply unimaginable in the 1970s when behaviors Н
and ideas of all men were urged to be in uniformity. $
In a short span of several years, there were such rock bands as "Tang Н
Dynasty" "Breath" "Overload" "Women Cobras" "Dream" "1989" in Beijing Н
and "P'tong 100" "Guy" "Air Force", "Compass" "New Air" in Guangzhou. Н
Some were simply named in English. According to incomplete statistics, Н
there are now more than 300 rock bands in the country.#+[6]_ As an Н
imitation of American counter-culture, some rock stars wear long Н
hairs. Huang Bo of "Air Force" openly declared: "Rock is a self-Н
consciousness. The religious enlightenment it tries to express is Н
virtually individualism."#+[7]_ Cui Jian said: "I stand for the Н
rebellious spirit of Rock'n'Roll."#+[8]$
When the "Rhythm of Love" Light Music Band of Los Angeles was giving a Н
performance in Shanghai on the night of December 9 of 1986, it asked Н
audience to come on stage to dance. Some of the Shanghai free-for-all Н
audience did go on stage and danced to the cheers of all. When John Н
Denver gave a show in Beijing, the atmosphere was very warm and Н
romantic. As lighters glittered, people sang American country songs Н
together with John Denver. $
In China, the rise of leisure culture is marked by the birth and Н
#^thriving#^^ of American cabarets. According to an investigation by the Н
Arts Department of the Propaganda Department of the Chinese Communist Н
Party, there were 7,000 dance halls in 19 provinces and autonomous Н
regions in 1991. While there was only one dance hall in Shenzhen in Н
1981, there were 200 by the end of 1990 and 400 by the end of 1992. Н
Some ladies took as their profession to dance with their clients. The Н
investigation report said, "Western and Hong Kong and Taiwan culture Н
enters as the open-and-reform drive develops and foreign capital is Н
imported."$
Let us have a glimpse of the 1992 Christmas eve celebrations in Н
Shanghai to show the degree of American influence. In the hall of the Н
Fuhao Foreign Trade Hotel there stood a 7-meter-high Christmas tree. Н
The choir of boys and girls were singing "Christmas Carol" and "Jingle Н
Bell". The Santa Clause was offering gifts to every body: a Christmas Н
doll. The dancers of the Glamont Modern Dance Troupe were giving a Н
show to the accompaniment of hard rock. Their youthful bodies in Н
bikinis were alluring in sexy dances and dances full of vitality. Н
Shanghai holiday-makers swung their bodies to and fro at the three Н
dancing pools of the JJ Disco Square. It was a typical scene of the Н
Paramount movies, vital, free-for-all and full of vitality.$
The shock of American culture is also felt in summer T-shirts. On the Н
T-shirts of boys and girls, there are prints of "I love you" "I fear Н
boy" "Kiss me" "Boys and Balls" and scenes of Hawaii, Key West, Palm Н
Beach, California, Las Vegas, Los Angeles. There are, too, T-shirts Н
printed with American ivy league school emblems and American company Н
ads in bright red, green, yellow and lavender. They also carry the Н
portraits of Elvis Presley, Madonna, Michael Jackson, U2, Marilyn Н
Monroe, Tom Cruise and Brook Sills. People call this as "Rock'n'Roll Н
on T-shirts".$
The direct roles of the shock of American culture are: $
1. Making Chinese culture closer to the worldly way of life and the Н
customs of the townfolks;$К2. Enriching the intention of the social perception of aesthetic Н
value;$
3. Encouraging independence and pluralism in assessment and choice of Н
value;$
4.Making social life more open and accommodating.$
The worldly pop culture sticks to modern equality, opposes staying in Н
a rut, opens more space for the pleasure of the Chinese and enriches Н
their existence. From the perspective of the in-depth of social idea, Н
it serves to shake the cultural psychology of the genteel, the feudal Н
and the conservative and asceticism inherent in Chinese culture and Н
the privileges in cultural field and consequently helps emancipate the Н
mind of man. It challenges the elitist mainstream culture. Some Н
scholar pointed out: "The pop culture in China displays the role of Н
helping quicken the disintegration of traditional social psychology Н
and the small peasant mentality and make traditional culture shift to Н
modern culture."$
If we delve into Chinese social psychology, we will find that in the Н
last decade or so, American culture has made impacts on the Chinese in Н
their perception of value and mind. In looking for the causes of such Н
changes in value perception, the first and the most fundamental one Н
lies in the changes in Chinese internal economic, social and cultural Н
structure. However, it must be recognized that such changes in the Н
economic, social and cultural structure are attributed to the open Н
policy and the impacts of foreign culture, American culture in Н
particular.$
American literature has been introduced into China with a drive never Н
seen in history. Works of Ernest Hemingway, William Faulkner, John Dos Н
Passos, T.S. Eliot, Ezra Pound and Vonnegut have been translated in Н
Chinese and published. The existentialist "The Naked and the Dead" by Н
Norman Mailer, Faulkner's "Sound and Furies", black humor "Catch 22" Н
by Joseph Heller, modernistic "the Wasteland" by T.S. Eliot and "the Н
Catcher in the Rye" by J.D. Salinger have won wide acclaims among the Н
young people. Chinese university students have shown particular Н
interest in modernistic poetry and novels as a rebellion against the Н
closed cultural environment. The apathy, alienation and loneliness as Н
expressed in modernist literature are in perfect accord with the needs Н
of the young who are in a process of shift from the traditional to the Н
modern perception of value. Its counter-traditionalist egoist Н
expression is, too, in perfect accord with their psychology. According Н
to studies made by Xia Tianyang of the Shanghai Institute of Higher Н
Education, the modernist literature has opened a wider vision of the Н
students; it helps cultivate a mind critical of social reality and a Н
sense of "tramper" in the students; it affects the way of life of the Н
students, "making them seek pleasure in order to avoid reality and Н
express their passive resistance with extreme means." "They regard Н
life as a play. They play with lessons, art, love and even life Н
itself. They seek what is new and what is different and a counter-Н
traditional way of life."#+[15]$
The Institute of Sociology of the Chinese Academy of Social Sciences Н
carried out two major nation-wide polls (4,000 respondents for the Н
first and 600 for the second) from 1986 to 1990 concerning the Н
evolution of the perception of value of the young people in the last Н
decade. The social scientists come to the conclusion: "The open-and-Н
reform policy has opened the eyes of the Chinese in the last decade. Н
It has brought about tremendous changes in Chinese politics, economy, НКculture, science and technology." $
To the question of "Whom do you most trust on all political issues? -- Н
your good friends, scholars, party and government leaders, parents or Н
oneself", 39.1% of the first group of respondents and 41.5% of the Н
second polled group replied "oneself", ranking first. One third of the Н
respondents stand for the canon of "It is against the God's will if Н
one does not serve himself". The young tend to set great store by Н
material benefits, money and practical things. In the 1988 study 81% Н
of the respondents were affirmative about the profession of Н
entrepreneurs. It rose to 90% in the 1990 study. It seems that most of Н
the young dream of becoming entrepreneurs. According to a study by the Н
Chinese Society of Historical Materialism, less of the young want to Н
become officials and more than 80% wish to go to firms, companies and Н
economic entities to work.  $
To the question of "What is your greatest happiness?" 17.5% of the Н
1988 respondents chose "a nice family". The figure rose to 42.7% in Н
the 1990 study. $
The quintessence of American culture is attention to one's own value Н
and consciousness and struggle on one's own. It does not worship Н
authority and idol. It only believes in one's own strength and the Н
worldly right to pursue happiness and pleasure in life. Such egoistic Н
perception of value runs counter to the traditional Confucianist tenet Н
of "A gentleman has three fears: fear of the heavenly mandate, fear of Н
the higher authorities and fear of the teachings of the saints." The Н
studies mentioned above all show that there is a modern wave of ideas Н
among the young in the conflict between traditional and modern culture Н
and between Chinese and American culture. In their psychological Н
structure, there is identity with American modern perception of value Н
and behavioral patterns. Such identity in the in-depth psychological Н
structure of the young is in perfect accord with what we discuss above Н
about the shocks of American culture and the response of Chinese Н
culture. It has to a greater extent emancipated the mind of man from Н
feudal principles and modern superstitions. It is undoubtedly a Н
historical progress.$
To the question of "What spouse you want to choose?", 48% stand for Н
"profound love" and 31% think that it is understandable to have pre-Н
marriage sex.#+[16]_ This data is in accord with the nation-wide study Н
of 941 respondents in July of 1990 made by the journal "The Family": Н
34.18% do not deem chastity as very important for marriage and 36.7% Н
stand for pre-marriage sex. According to an investigation of "family Н
and sex civilization", 54% of urban respondents believe that if one no Н
longer cherishes love for one's spouse, it is understandable for him Н
or her to take on a lover; the figure is 44.2% among the rural Н
respondents. 14.4% of urban married women have extra-marital sex.
#+[17]_ Н
Similarly, a study of 18 universities and colleges in Shanghai shows that Н
89.5% believe that others should not interfere if two students decide Н
to co-habit.#+[18]_ Statistics show that the divorce rate has been Н
rising at an annual rate of 10% since the promulgation of the new and Н
freer Marriage Law in the early 1980s.#+[19]$
This indicates that thanks to the shock of American culture Chinese Н
ideas on sex have become opener and more accommodating. Sex was the Н
area where Chinese feudal ethics most stringently ruled. Menfucius Н
says, "When a heart is moved, it has to control its sexual ideas." The Н
Neo-Confucianists of the Song Dynasty advocate "There is only the НКheavenly rule and human wishes must be suppressed." So, the openness Н
and accommodation on the issue of sex have their own sociological and Н
socio-cultural implications.$
In studying the shock of American culture and the response of Chinese Н
culture, I discover that many of the cultural phenomena, just as Paul Н
Cohen elaborated in his China-centered approach, have their profound Н
inherent historical causes and some of them are derivatives of the Н
shock-response pattern. I discover, too, that there is indeed Н
difference response to American culture between the coastal areas and Н
the Chinese hinterland just as Lucian Pye of the MIT pointed out. I Н
discover that different Chinese social strata respond differently to Н
the shock of American culture. Facts prove that though Chinese contest Н
is increasingly influenced by the West the internal social history has Н
throughout been Chinese.$
#T4III#t
In the process of my study of the impact of American culture and the Н
response of Chinese culture, I found the striking creativeness of Н
Chinese culture in assimilating American culture. Chinese response is Н
very active. It is vogue-oriented, selective and very critical. Some Н
of American culture are assimilated while others are screened, Н
processed and consequently alienated.$
Let's have a look at the interesting phenomena of cultural alienation Н
in Chinese society:$
The international standard ballroom dance introduced to China by the Н
Youngstown State University which is originally designed for grand Н
social parties with people dressed in evening dresses is called sports Н
dance. Transformed by local folks, it becomes part of local folk Н
culture with people dressed in whatsoever casual garments dancing to Н
shabby cassette-recorders in street parks, tree-lined boulevards or Н
under flier-overs, or wherever there is space.$
The billiard, an American parlor game with strict requirements for Н
light, table bed cloth, sticks and cue balls, is now a street scene in Н
Chinese cities and even in some of the countryside as young people, Н
even half-naked, play billiard on simple and rustic tables. It has Н
become part of the pop culture in China. $
In the West, in the United States in particular, fashion shows are Н
first of all commercial. Their artistic appreciativeness is only Н
secondary. As fashion shows began to become part of the Chinese way of Н
life in the 1980s, they on most occasions served as entertainment for Н
some public or social gatherings. Its artistic appreciativeness is Н
primary and business is secondary.$
The Chinese changed their traditions of monotonous blue and quickly Н
accepted the American culture as expressed on T-shirts with lively Н
pictures or letters in raucous colors. The Chinese call the T-shirts Н
as culture shirts printed with words in American as well as Chinese Н
humor: "Though money is not omnipotent, it will not do if you have no Н
money" "Start from scratch" "I make no troubles" "I'm ugly, but I'm Н
tender-hearted". Not contented with just copying things foreign, the Н
Chinese have added Chinese style and content into T-shirt culture. Н
Technically, they employ traditional wax dyeing, bound dyeing and hand Н
painting and in content they print on the T-shirts Beijing opera Н
facial make-ups, traditional Chinese new year paintings, Chinese brush Н
and ink paintings and Chinese movie pictures.$
The transformation of American disco shows the courage of Chinese Н
culture in assimilating American culture. Disco is originally a sexy НКdance accompanied by blues or swings. When disco was first introduced Н
into China in the early 1980s, some showed fear of and disgust for the Н
sexy swinging routines. However, people gradually accepted it and Н
evolved it into a kind of calisthenics, calling it "old people disco". Н
Disco culture is thus alienated. Later, those old people who were bent Н
on disco began to take to typically Northwestern Chinese folk dance of Н
yangge. This is a typical case of the role of tradition in the pattern Н
of impact- response-alienation. Some critics commented it as a Н
cultural reassessment of imported disco, break dance and ballroom Н
dances of all manner.#+[20]_ Nevertheless, it must be pointed out that Н
the young people in Beijing, Shanghai, Guangzhou and other major Н
cities still dance very standard and very American disco at the Н
discotheques. This is cultural pluralism. This shows the cultural riot Н
of Chinese mind in the years open to the outside world. Thanks to such Н
a riot of mind an entirely new culture will be born.$
Even at those American-type cabarets things have changed to be very Н
Chinese. People hear music of revolutionary period songs of the "Red Н
Sun" and are entertained with dances of the Yanbian Korean Н
nationality, Tibetan dances and Chinese folk dances in a fantasy of Н
lights at the round or square platforms protruding into the Н
spectators' seats in Shenzhen's Shadu Song and Dance Hall. Chinese Н
flavored dances and American hard rock are combined to entertain the Н
spectators. Some scholars believe that such a combined new song-and-Н
dance entertainment will serve as a force to break traditional way of Н
thinking. "Chinese dance halls should assimilate what is good from Н
foreign counterparts and avoid their defects," they say.#+[21]$
American rock'n'roll that rose in the mid-1950s served as a major Н
shock when it was introduced into China. According to the secretary Н
general of the organizing committee of the Chinese rock'n'roll Н
concert, rock'n'roll with its vibrant artistic appeal and power is Н
enjoying ever wider acclaims of the Chinese, especially the young. He Н
held that rock'n'roll should not be regarded as a sheer release of Н
strain.#+[22]_ The response of Chinese rock stars and composers is Н
similarly active. They try to compose or sing rock songs with Chinese Н
flavor. They try to add Chinese blood into American rock. There is the Н
"northwest wind" rock that tells of the sad stories of the Loess Н
Plateau. Cui Jian, a leading contemporary Chinese rock star, believed Н
that Chinese rock should take its own road, a traditionalized road. He Н
blew the trumpet at a rock performance.#+[23]_ The Dynasty interpreted Н
rock in a very Chinese way and added Beijing opera monologues in its Н
rock songs.#+[24]_ Some critics commented that they are trying to blaze Н
a Chinese road of rock, different from the conventional formalistic Н
rock. They try to make their music assume more Chinese features so as Н
to make it part and parcel of the new Chinese culture.$
The break dance is a dance that was born in New York streets. Dao Jin, Н
the Chinese king of break dances, broke away from the conventional Н
forms and tried to integrate disco, break dances, classic ballet and Н
folk dances into a unified whole of a modern Chinese dance which he Н
calls as "Chinese entertainment dance". He introduced such daily acts Н
as carrying dishes, sitting in the trams, playing basketball, Н
operating the lathe and waving the hammer into disco or break dance Н
routines. He works to liberate dances from the bondage of music and Н
literature and try to have a dialogue with the spectators with body Н
language. He believes that when foreign programs are performed they Н
are one hundred percent foreign and when Chinese local dances are НКgiven on the stage, there should not be sheer primitiveness without Н
any aesthetic beauty. He says, "I wish to create a new Chinese dance Н
on the basis of modern rhythm and the way of the eastern people to Н
give impetus to their sentiments."#+[25]_ The break dance, under the Н
creation of Dao Jin, is alienated and becomes something new.$
 From the above analysis, we may see that as we have stressed the Н
change within a culture and the ability of Chinese culture to alienate Н
American culture (Joseph R. Levenson took note of this question of Н
alienation), this helps foster a more dynamic historical view and a Н
historical view that stresses all the more change as the center of Н
force. This proves that Chinese response in the 1980s and 1990s is not Н
inertial but active and creative. This constitutes the basis for the Н
impact-response pattern between the Chinese and American culture.$
#T4IV#t
What will be the picture in the future in the wake of the mutual Sino-Н
American cultural shocks? There are different answers to this Н
question. Is it possible for the total Westernization of Chinese Н
culture under the impact of Western culture? The Chinese history over Н
the last hundred years shows that total Westernization is not in Н
accord with China's actual situation. "Total Westernization Н
essentially means total negation of the role of Chinese culture on the Н
yesterday and today of China and is naturally not the way."#+[26]_ Liang Н
Shuming stressed the importance of tradition, namely, he stressed the Н
fact that any change in Chinese culture must take place within the Н
framework of tradition and be in accord with China's actual situation. Н
There will not be possible for the fundamental "transformation" that Н
negates tradition as predicted by John King Fairbank, Edwin O. Н
Reischauer and Albert M. Craig. However great is the Western impact Н
and shock Chinese culture will not lose its identity. Tradition and Н
modernization are not opposed to each other and may find the common Н
ground for mutual complementarity. The impact of American culture can Н
only be resettled, like Buddhism, in an environment that has been Н
transformed and yet still retains predominantly Chinese Н
characteristics.#+[27]$
Professor Ji Xianlin in "On Oriental Culture Again" said, "In the 21st Н
century, Western culture will be gradually replaced by Oriental Н
culture and human culture will enter into a new period of Н
development." He held that the Oriental way of thinking and Oriental Н
culture is comprehensive while Western way of thinking and Western Н
culture is analytical. He said that this is the basis of the above Н
conclusion of his. "The Western culture based on analysis will Н
degenerate and the Oriental culture based on comprehensiveness will Н
surely take its place."#+[28]_ Professor Ji Xianlin is a representative Н
of the school of optimism on the future of the Oriental culture. This Н
school of thought maintains that the 21st century will be an Asian Н
century and Oriental culture will reign supreme in the 21st century.$
Professor Zhou Zhiliang believed that the world culture is now in a Н
process of merging and fusion and that there should not be such a Н
question of what replaces what. The fusion of Western and Oriental Н
culture is the general trend no one may turn, for it is in accord with Н
the rationality of the development of human history and the common Н
interest of the mankind.#+[29]$
Professor Zhou Youguang maintained that the evolution of human culture Н
is not a matter of periodical Westernization and Orientalization but a Н
matter of complementarity of each other, progressing from a lower to a НКhigher stage of culture and from a unitary to a pluralistic culture.Н
#+[30]$
American culture is, essentially speaking, a culture that stresses Н
this life. It seeks the mechanical pleasure of life and progress in Н
nature. It sets store by food, sex, fame and interest, seeks after a Н
life based on lust and is affirmative about lust and man himself. It Н
is outer-oriented, always looking ahead and making the conquer of Н
nature as a pleasure of life. So, in terms of life attitude, American Н
culture takes a worldly road. On the other hand, American culture is a Н
cross-bred culture. It has assimilated the spiritual quintessence of Н
humanism since the Renaissance and the cultures brought forth by the Н
immigrants of various nationalities (including Chinese culture). It is Н
a new culture based on Anglo- Saxon culture. It contains active, ever-Н
progressive and optimistic elements. Walt Whitman is the most Н
outstanding representative of this American spirit. $
Chinese culture grows on its own soil and becomes a unique system of Н
culture in the long process of history. It has vast differences from Н
other cultures. Why have ancient Egyptian, Greek, Babylon and Persian Н
civilizations died or moved to other places while Chinese civilization Н
still lasts with its vitality? One of the root causes lies in the fact Н
that Chinese culture has the great power to assimilate foreign Н
culture, to enrich itself and yet maintain its cultural identity. Н
Chinese culture, essentially speaking, is a culture that is somewhere Н
between worldliness and other-worldliness. It stresses the golden Н
means and the present life while it subjugates itself to the mandate Н
of the heaven and let things take their natural course. It pays great Н
attention to the life of this world and yet does not set great store Н
by the happiness of this world and goes so far as to negate lust just Н
as Confucianism teaches "When you eat, do not wish for a full stomach; Н
when you live, do not wish for comfort; be active in life and careful Н
in speech." This determines the worldly awareness of Chinese culture. Н
In terms of life attitude, it takes the road of morality.$
Chinese culture has its own cultural tradition of man to man. The Н
American culture that embraces highly developed science and technology Н
and stresses individualism and the spirit of competition has solved Н
the question of the relations between man and nature but not the Н
question of the relations between men. However, Chinese culture sets Н
great store by the relations between men, the family and ethics just Н
as Menfucius says "If you respect the elderly of my family as well as Н
the elderly of all and love the young of my family as well as the Н
young of all, the universe is in your hand." This is aimed at social Н
harmony. Chinese culture stresses the harmony of human life: the Н
harmony with man himself, the harmony between men and the harmony of Н
the entire universe with man at its center.$
So, the shock and fusion between American and Chinese culture are the Н
shock and fusion between worldliness and morality. They will have to Н
take whatever is good from the other and reject whatever is bad for Н
the birth of a new culture that is more humanistic, more rational, Н
outer-oriented as well as internal- oriented. The active process of Н
this cultural impact-response will be beneficial to both nations.$
I have here discussed cultural impact and response. The impact-Н
response pattern I describe here in this paper is different from that Н
pattern that interprets Western impact as the leading factor in Н
Chinese historical and cultural development and portrays China as very Н
inertial in the process. I recognize American impact. If there is no НКsuch an impact, how can there be response? They are complementary and Н
mutually dependent. Though the active impact- response pattern has Н
helped promote the modernization of Chinese society, yet, the Н
modernization of Chinese society has to largely depend on its internal Н
force and change. The history in the last 14 years prove that Chinese Н
response has always been powerful; it has the power to fuse American Н
culture and even alienate it.$
I have taken note of the latest discussion of "globalization" in the Н
Chinese academic community. As the post-industrial society and the Н
fifth industrial revolution come, the time of cultural fusion will Н
surely come and the process of the fusion between the various national Н
cultures will greatly accelerate in the world that is divided mainly Н
in economic groups, is equipped with high-tech mass media and is Н
getting increasingly integrated. "On the one hand, the non-national Н
entities such as international organizations and trans-national Н
corporations will exercise ever great influence on international Н
relations; on the other, the internal factors of each nation, Н
including personal choice and personal perception of value will do so Н
too."#+[31]_ As China continues to open its door to the outside world Н
and open it wider, the impact and response between American and Н
Chinese culture will inevitably grow in breadth and depth. In the Н
process from a closed or a semi-closed to an open society, the Н
cultural life in China will surely be diversified and be plural. For Н
the end of growth Chinese culture needs to assimilate what is healthy Н
from American civilization and needs the process of impact and Н
response as we describe here so as to bring forth a new society that Н
sets great store by social and personal harmony and regulation.$
#T4NOTES#t
##[D1J100P80]
_#+[1]_
This author, when writing this paper, refers to the Chinese edition of Н
Paul A. Cohen, #FKDiscovering History in China: American Historical Н
Writing On The Recent Chinese Past#FS,_ translated by Prof. Lin Tongqi Н
and published by Zhong Hua Book Company in Beijing in 1989. This Н
author expresses his gratitude here to Prof. Paul A. Cohen and Prof. Н
Lin Tongqi.$
_#+[2]_Jiang Zemin, Report at the 14th National Congress of the Chinese Н
Communist Party, October 12, 1992.$
_#+[3]_According to the statistics of Leo A. Orleans in Chinese Students Н
in America, there were 34,000 government-financed students and Н
visiting scholars and 22,000 self-financed students from 1979 to 1987, Н
surpassing the number in the 100 years before 1949. Please refer to Н
Fred Strebeigh, "Training China's New Elite," #FKThe Atlantic Н
Monthly,#FS_ Н
April 1989, p.12.$
_#+[4]_#FKBeijing Youth News,#FS_ November 21, 1992.$
_#+[5]_Wan Runlong, "Cui Jian is a Riddle," #FKCultural Newsweek,#FS_ January      Н
1, 1993.$
_#+[6]_#FKBeijing Evening News,#FS_ February 15, 1993.$
_#+[7]_Shen Rong, "Guangzhou's Local Rock," #FKSouthern Weekly Н
News,#FS_ December 4, 1992.$
_#+[8]_Wang Runlong, op. cit.$
_#+[9]_Yang Zhigang, "Contemporary Chinese Pop Culture in Cultural Н
Change," Н
#FKFudan University Journal,#FS_ No.3 of 1991.$К_#+[10]_#FKBeijing Youth News,#FS_ op. cit.$
_#+[11]_Growth of the Cultural and Entertainment Market as Seen from the Н
Song and Dance Halls in Shenzhen, #FKGuangming Daily,#FS_ January 14, 1993.$
_#+[12]_Wang Weimin, "Christmas Eve Report," #FKLife Weekly,#FS_ Shanghai, Н
December 27, 1992.$
_#+[13]_#FKBeijing Evening News,#FS_ August 31, 1992.$
_#+[14]_Yang Zhigang, op.cit.$
_#+[15]_Xia Tianyang, Western Modernist Literature and Contemporary Н
Chinese Students, #FKStudy of Youth,#FS_ September 1990, pp.14-16.$
_#+[16]_Please refer to #FKStudy of the Youth,#FS_ the Institute of Sociology Н
of the Chinese Academy of Social Sciences. Ibid..$
_#+[17]_"The Phenomenon of Lovers in China," #FKBeijing Youth News,#FS_ February Н
13, 1993.$
_#+[18]_Zhao Yizheng, Clashes of Values, April of 1988.$
_#+[19]_#FKWeekly Digest of Fujian Daily,#FS_ November 18, 1992.$
_#+[20]_Yu Ping, "Yangge Come to Cities!" #FKLiterary Gazette,#FS_ January 16, Н
1993.$
_#+[21]_Feng Shuangbai, "New Songs and Dances at Song and Dance Halls," Н
#FKGuangming Daily#FS,_ January 11, 1993.$
_#+[22]_#FKBeijing Evening News,#FS_ February 15, 1993.$
_#+[23]_Wang Runlong, op.cit.$
_#+[24]_Xiong Xiaoling, "Dream of the Dynasty," #FKSouthern Weekly Н
News,#FS_ Н
February 12, 1993.$
_#+[25]_Chu Xiaoling, "Break King of Dao Jin," #FKChinese Sons and Н
Daughters,#FS_ Н
No.3 of 1992, p.49.$
_#+[26]_Wang Donglin, #FKInterview with Liang Shuming#FS_ (Hunan People's Н
Publishing House, 1988), p.212.$
_#+[27]_Please refer to Joseph R. Levenson, #FKConfucian China and Its Н
Modern Fate#FS_ (Berkeley: University of California Press, 1958), Vol.1, p. Н
161.$
_#+[28]_Ji Xianlin, "On Oriental Culture Again," #FKJunyan Journal,#FS_ May of Н
1991.$
_#+[29]_#FKDigest News,#FS_ December 27, 1992  quoted from Н
#FKZhengming Journal,#FS_ Н
June of 1992.$
_#+[30]_Zhou Youguang, "The Law of Movement of Culture," #FKJunyan Н
Journal,#FS_ Н
December of 1992.$
_#+[31]_Li Shenzhi, Greet the Epoch of Globalization -- Speech at the Н
International Symposium to Mark the 500th Anniversary of Christopher Н
Columbus's Voyage to Americas, October of 1992.$#E