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Response Paper - Essay Example

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With that in mind, the following discussion features various responses to particular pieces of literature.
The most elating part of this…
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Response Paper Response Paper Reading any piece of literature is about synthesizing the content; giving opinions in their variant forms about the same piece of writing. With that in mind, the following discussion features various responses to particular pieces of literature.
The Cultural Dilemma of the Revolutionary Elite
The most elating part of this piece of writing is how it portrays the relationship between the contemporary politics and the Chinese art of calligraphy (Richard, 1991). As opposed to the thinking of many political activists, thinking that calligraphy would be castigated due to its link to feudalism is the exact opposite that happened to their dismay. However, what I find surprising is the reason for all the denial; despite the rigidity to change by the activists, it was very apparent that calligraphy was bound to flourish. But again, only one question, whose answer is very evident, comes to my mind. Were these radicals unable to see the obvious fact that calligraphy, as part of writing, would flourish? Well, anyone rigid to change never sees the other side of their perspective. Likewise to the real world, there are very clear examples scenarios similar to those illustrated by the author. One such instance is in politics, transitioning from one form of leadership has always faced myriad obstacles from those who resist the change; the result? Political chaos. Interestingly, such resistance to change relate perfectly even to my life experiences. Many are times I have opposed moving from one residential area to the other for reasons not so justifiable; this clearly reflects the human nature of resisting change.
Chinese Calligraphy as a System of Power
The most interesting part of this writing how it brings out the power of the pen. In other words, calligraphy, as a form of writing, is so powerful that amidst the sheer opposition by the activists, it penetrated the Chinese as if it was not being opposed. But I cannot stop asking myself what methods of resistance the activists used; if they were serious, they would manage to bar calligraphy since it was truly a form of feudalism. On the same note, were the Chinese contented with feudalism? What quickly comes to my mind is that the activists were not so vigorous in their opposition. At the same time; the feudal stipulations profoundly influenced so many Chinese to the extent that it would consume way more effort to convince them otherwise. Just, in the same way, as a Christian, it would take a lot of persuasions to convince me against the stipulations of the Bible.
The Orchid Pavilion’s Modern Legacy
In one way or the other, this text still emphasizes the link between the Chinese past and its contribution to the calligraphy; just like the previously discussed texts. Contrawise, the author of this book also wonders why Chinese activists had to oppose calligraphy with all the vehemence they did while it was so obvious that this form of writing was bound to win in the end. With regards, I cannot stop asking myself if the entire struggle was worth it looking at the circumstances. The probable response would be that the activists thought they would have their way when a complete opposite just happened. Obviously, it is not only me, but everyone else has at one point been disappointed after losing a battle they previously concentrated all their effort in and prospected to win.
The Abstract Beauty of Chinese Calligraphy
Finally, it is interesting how the author concurs that the Chinese calligraphy was, to say the least, beautiful. To note, however, is that the beauty was hidden and could not be seen easily, hence, the blind opposition (Latin, 1992). The most problematic element of this piece of writing is the generalization of beauty with respect to the Chinese calligraphy when it is very lucid that beauty is relative and an opinion that is unique to everyone. But I cannot blame the author, just like him, I may sometimes causelessly laud something as beautiful just to be discredited later by others.
Conclusion
In a nutshell, the Chinese calligraphy was bound to flourish despite the opposition. Furthermore, it was part and parcel of the Chinese culture present in almost all the spheres of their lives from politics to religion. As such, it would only be fair, as was later discovered, that there was totally no basis for denying the ‘beautiful’ calligraphy a chance into the Chinese lives.
References
Latin, D. (1992). Structure and Irony in Social Revolutions. New York: Political Theory publications.
Richard, K. (1991). Brushes with Power: Modern Politics and the Chinese Art of Calligraphy. Berkeley: University of California Press. Read More
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