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<p>Abstract</p> <p>In 1871, during the Franco-Prussian War, the Parisian workers revolted against the bourgeois government and established the Paris Commune. Extolling it as the first workers' government, classical Marxist writers took it as an exemplary--though embryonic-- model of the dictatorship of the proletariat. The principles of the Paris Commune, according to Marx, lay in that "the working class cannot simply lay hold of the ready-made state machinery, and wield it for its own purposes." General elections and the abolishment of a standing army were regarded by classical Marxist writers as defining features of the organ of power established in the Paris Commune. After the defeat of the Paris Commune, the Marxist interpretation of the Commune was widely propagated throughout the world, including in China.</p> <p>20th century China has been rich with experiences of Commune-type theories and practices. At the end of 1966 and the beginning of 1967, inspired by the Maoist theory of continuous revolution and the vision of a Commune-type state structure, the rebel workers in Shanghai, together with rebellious students and revolutionary party cadres and leaders, took the bold initiative to overthrow the old power structure from below. On Feb.5, 1967, the Shanghai workers established the Shanghai Commune modeled upon the Paris Commune. This became known as the January Storm. After Mao's death in 1976, the communist party and government in China has rewritten history, attacking the Cultural Revolution. And the Shanghai Commune has barely been mentioned in China, let alone careful evaluation and in-depth study. This dissertation attempts to recover this lost yet crucial history by exploring in historical detail the origin, development and supersession of the Shanghai Commune. Examining the role of different mass organizations during the January Storm in Shanghai, I attempt to offer a full picture of the Maoist mass movement based on the theory of continuous revolution. Disagreeing with some critics' arguments that the Shanghai Commune was a negation of the party-state, I argue that it neither negated the party nor the state. Instead, the Shanghai Commune embodied the seeds of a novel state structure that empowers the masses by relegating some of the state power to mass representatives and mass organs. Differing from the common narrative and most scholarship in the post-Mao era, I argue that the commune movement in the beginning of 1967 facilitated revolutionary changes in Chinese society and state structure. The Shanghai Commune and the Shanghai Revolutionary Committee developed as ruling bodies that did not hold general elections or abolish the standing army and in this way did not replicate the Paris Commune. But in contrast to the old Shanghai organs of power, they were largely in conformity with the principles of the Paris Commune by smashing the Old and establishing the New. Some of their creative measures, "socialist new things", anticipated the features of a communal state -a state that does not eradicate class struggle yet begins to initiate the long process of the withering away of the state itself.</p> / Dissertation

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Thesis (Ph.D.)--University of California, Davis, 2006. / (UMI)AAI3250858. Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0683. Adviser: Clarence E. Walker.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2774. Adviser: Winifred Poster. Includes bibliographical references (leaves 186-194) Available on microfilm from Pro Quest Information and Learning.

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Le présent travail se veut une analyse des enjeux jalonnant le développement du courant musical appelé « folk du Kansai ». Apparu au milieu des années 1960, ce genre incarne avec vigueur la contestation sociale qui traverse les pays, en proposant notamment des titres anti-guerre comme l’émouvant « Betonamu no sora » [« Le Ciel du Vietnam »] de Takaishi Tomoya ou l’ironique « Jieitai ni hairô » [« Entrons dans les forces d’autodéfense »] de Takada Wataru. Pourtant, la thèse que nous portons désire montrer toute la richesse d’un courant musical qui a jusqu’à aujourd’hui été largement réduit à sa facette engagée. Si la folk du Kansai réclame haut et fort la remise en question d’une société jugée belligérante et structurellement inégalitaire, elle reflète également de profondes interrogations quant à la place de l’art dans le quotidien, au rôle de l’artiste au sein de la société, ainsi qu’au sens donné à une musique dite populaire, pourtant modelée par une industrie en place au Japon depuis plus de 40 ans. A travers la reconstitution du développement de la scène de la folk du Kansai de ses début en 1966 à sa disparition à l’orée des années 1970, ainsi qu’une analyse de son répertoire composé d’une centaine de titres, ce travail s’attache à démontrer comment les artistes du genre ont rendu musicalement et scéniquement concrète une profonde aspiration à une indépendance artistique, source à la fois d’expressions individuelles créatives et de regards citoyens sur le monde. / The present work proposes an analysis of the musical genre called “Kansai Folk”. Born in the mid-1960’s, this musical genre embodies the japanese social movement, expliciting for exemple strong anti-war feelings, as Takaishi Tomoya’s moving “Betonamu no sora” or Takada Wataru’s ironic “Jieitai ni hairô” illustrate it. However, our dissertation aims to show that the Kansai folk was more than political protest put in music. If its artists indeed wanted to firmly question a society judged belligerent and unequal, their work also reflected on other questions such as the place of art in the everyday life, the role of the artists in their society and the meaning of a so-called popular music that has been shaped by an industry existing in Japan since the end of the 1920’s. Throught the reconstitution of the development of the Kansai folk musical scene, from its beginning in 1966 to its disparition in 1970, and an analysis of the hundred of tunes composing its repertoire, this works aims to show how these ambitious artists made real their aspiration toward a scenic independence, used as a musical plateforme to imagine and perform creative self-expressions and citizen’s critical views.

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The Seventh-day Adventist Church, incorporated in the United States in 1863, was driven by the belief that it was God's 'remnant church' with the work of warning the world of the imminent return of Christ. When that mission was finished the second coming would occur. In 1886 following a visit by an elderly layman, John I Tay, the whole population of Pitcairn Island desired to join the SDA church. As a result in 1890 Adventist mission work began in the South Pacific Islands. By 1895 missions had been founded in six island groups. However difficulties, both within and without the mission's control, ensured that membership gains were painfully slow in the first decades of Adventist mission in Polynesia. However before World War II the Solomons became one of the most successful Adventist mission areas in the world. After 1945 Adventism also prospered in such places as Fiji, Samoa and Tonga. Education provided the key to the gaining of accessions in a number of countries, while in others a health-medical emphasis proved important in attracting converts. Since World War II public evangelism and the use of various programmes such as welfare, radio evangelism, and the efforts of lay members contributed to sharp membership gains in most countries of the region. Of no small consequence in hindering Adventist growth was the opposition of other churches who regarded them as pariahs because of their theology and 'proselytizing'. Adventist communities tended to be introverted, esoteric and isolationist. Nevertheless Pacific islanders adapted aspects of the usually uncompromising Adventist culture. Unity of faith, practice and procedure was a valuable Adventist asset which was promoted by a centralized administration. After a century in the Pacific region its membership there has a reputation among other Adventists for its continued numeric growth and for the ferver its committment to Adventism. Nevertheless Adventism in the region faces a number of problems and its aim of finishing the Lord's work remains unfinished. / Subscription resource available via Digital Dissertations