理论家用毛泽东思想解释今日中国，正如18世纪哲学家用孔夫子来解释中国：这是一个谜，一组抽象概念，一个乌托邦。他们可以不假思索地抨击西方的种种弊端，工业文明乌烟瘴气，城市破落腐朽，道路上塞满了汽车，真是莫名其妙，诸如此类等等。于是他们急不可耐地庆祝中国人民共和国的诞生，那儿没有污染，没有犯罪，交通畅行。这样做还不如称颂一位截肢者，说他的脚永远不脏。" 。《中国阴影》揭露了另一个中国，一个光芒刺眼的毛泽东理想掩盖了的黑暗疯狂的世界。西方想象中最后的孔教乌托邦就要消失了。

中华人民共和国成立，毛泽东住进了丰泽园。三个世纪前，康熙皇帝曾在这个园子里举行"演耕"仪式（就是"重农学派"津津乐道的春耕仪式），试种"御稻米"。三个世纪后，美国国务卿基辛格在这里会见毛泽东，感到一种从未有过的"震撼力"，一种让散发着巨大的意志、力量、权威的震撼力。



毛泽东是位伟人，法国作家马尔罗刚刚见过毛泽东，他说毛泽东是中国历史上一系列英明君主的继承人。

尼克松访华前曾特意向马尔罗了解毛泽东，马尔罗告诉他，毛泽东是位一生波澜壮阔的巨人，他不断的革命已经接近尾声，正在面对死
神说话。

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Abstract
My central thesis is that the Western culture first
constructed the images of China in the discourse of Utopia
both in 17th -18th centuries as Confucius utopia and in
60's-70's of 20th century as Maoist utopia, and, just between
the two utopias in social-political expectation, there came
the "utopian China" as the Arcadia of aesthetical expectation
in Romanticism and Modernism. The images of "utopianized"
China, as a "cultural other", contributed to the construction
of the identity of modern "West". In this thesis, I examine
from a constructionist perspective how the texts that
formulated Enlightenment\ Modernity and Modernism, represented
Confucius utopia / arcadia, and Maoist utopia in history. I
try to demonstrate that the global modern civilization is not
the genesis of "superior West", but the process of transcultural and intercivilizational dynamics. While the West influenced the modalities of modern China, China as an "idea" also constructed the radical other of the Western ideology and aesthetics.