Conduction is the process by which heat energy is transmitted through collisions between neighboring atoms or molecules. Conduction occurs more readily in solids and liquids, where the particles are closer together than in gases, where particles are further apart.
One of the items on the truth-telling agenda of Chinese writers during 1979-80 was the condition of the Chinese countryside. Following years of idealization of peasant life in Cultural Revolution propaganda, stories such as “The Girl Who Seemed to Understand” exposed the artificiality of such idealization when measured against enduring problems of poverty, ignorance, and authoritarian social structure. Not since the 1920s and 1930s, with stories by writers like Lu Xun and Wu Zuxiang, have Chinese readers seen such stark portraits of village life. In the present story a young university student, full of theories of the revolution, gradually gains true understanding of an old peasant and thereby a clearer view of herself. Her sojourn in the countryside reminds one of Lu Xun’s in “My Home Town”: the hopes of an urban intellectual are crushed by the reality of village life, and the crushing is made personally poignant by the stolid submissiveness of a peasant to whom the egalitarian notions of the intellectual are as foreign as they can be. It is a virtue of both stories that the intellectual is moved toward introspection and a skeptical examination of his/her hopes. Liu Zhen’s story, though fine realism, lacks Lu Xun’s brilliant terseness; but her more overt style was certainly to the liking of Chinese readers in 1979-80, who thirsted to see the truth spelled out.
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Conduction is the process by which heat energy is transmitted through collisions between neighboring atoms or molecules. Conduction occurs more readily in solids and liquids, where the particles are closer together than in gases, where particles are further apart.
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⊂(◉‿◉)つ
One of the items on the truth-telling agenda of Chinese writers during 1979-80 was the condition of the Chinese countryside. Following years of idealization of peasant life in Cultural Revolution propaganda, stories such as “The Girl Who Seemed to Understand” exposed the artificiality of such idealization when measured against enduring problems of poverty, ignorance, and authoritarian social structure. Not since the 1920s and 1930s, with stories by writers like Lu Xun and Wu Zuxiang, have Chinese readers seen such stark portraits of village life. In the present story a young university student, full of theories of the revolution, gradually gains true understanding of an old peasant and thereby a clearer view of herself. Her sojourn in the countryside reminds one of Lu Xun’s in “My Home Town”: the hopes of an urban intellectual are crushed by the reality of village life, and the crushing is made personally poignant by the stolid submissiveness of a peasant to whom the egalitarian notions of the intellectual are as foreign as they can be. It is a virtue of both stories that the intellectual is moved toward introspection and a skeptical examination of his/her hopes. Liu Zhen’s story, though fine realism, lacks Lu Xun’s brilliant terseness; but her more overt style was certainly to the liking of Chinese readers in 1979-80, who thirsted to see the truth spelled out.