Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Xu Bing and Contemporary Chinese Art
How Chinese is contemporary Chinese art? Treasured by collectors, critics, and art world cognoscenti, this art developed within an avant-garde that looked West to find a language to strike out against government control. Traditionally, Chinese artistic expression has been related to the structure and function of the Chinese language and the assumptions of Chinese natural cosmology. Is contemporary Chinese art rooted in these traditions or is it an example of cultural self-colonization? Contributors to this volume address this question, going beyond the more obvious political and social commentaries on contemporary Chinese art to find resonances between contemporary artistic ideas and the indigenous sources of Chinese cultural self-understanding. Focusing in particular on the acclaimed artist Xu Bing, this book looks at how he and his peers have navigated between two different cultural sites to establish a third place, a place from which to appropriate Western ideas and use them to address centuries-old Chinese cultural issues within a Chinese cultural discourse.
Differences Preserved
Differences Preserved presents works excavated from two sets of tombs in northern China. Tomb objects from the ninth to twelfth centuries, along with reproductions of the lively and vibrant tomb wall murals, serve as the basis for a cultural reassessment of the Liao (907-1125) and Song (960-1127) dynasties. Objects such as fine ceramic pots and bowls, tea services, and furniture present a story of daily life and of how people thought of themselves. Hsingyuan Tsao's innovative analysis represents a new direction in Chinese scholarship by considering the overlooked accomplishments of non-Han groups within the history of Chinese culture.
Chinese Theology
SEVEN: Ding Guangxun: Maintaining the Church -- EIGHT: State Regulation, Church Growth, and Textual Profusion -- NINE: Yang Huilin: An Academic Search for Meaning -- TEN: Visible and Voluble: Protestant House-Church Writings in the Twenty-First Century -- Afterword -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- P -- Q -- R -- S -- T -- V -- W -- X -- Y -- Z
Five Dynasties and Ten Kingdoms
The period of the Five Dynasties and Ten Kingdoms (907-960) has long been treated as an anomaly in the history of China, an age of great disunity between the empires of the Tang and the Song dynasties. Breaking with previous scholarship on China's middle period, this edited volume presents individual studies that focus on the art, culture, and politics of the interregnum, challenging underlying assumptions about the unitary nature of dynastic culture and its value as a category of historical analysis. It understands these decades as a time of important transition in which the incipient cultural shifts of the mature Tang dynasty turned into the foundations of Song society. Consequently it highlights the complex narrative processes that gave birth to Song culture.
Art Deco
This book argues that mobility is the central theme of the interwar mode of design known today as Art Deco. It is present on the very surfaces of Art Deco objects and architecture – in iconography and general formal qualities (whether the zigzag rectilinear forms popular in the 1920s or curvilinear streamlining of the 1930s). By focussing on mobility as a means of tying the seemingly disparate qualities of Art Deco together, Michael Windover shows how the surface-level expressions correspond as well with underpinning systems of mobility, including those associated with migration, transportation, commodity exchange, capital, and communication. Journeying across the globe – from a skyscraper in Vancouver, B.C., to a department store in Los Angeles, and from super-cinemas in Bombay (Mumbai) to radio cabinets in Canadian living rooms – this richly illustrated book examines the reach of Art Deco as it affected public cultures. Windover’s innovative perspective exposes some of the socio-political consequences of this “mode of mobility” and offers some reasons as to how and why Art Deco was incorporated into everyday lifestyles around the world.
A Grand Materialism in the New Art from China
In A Grand Materialism in the New Art from China, Mary Bittner Wiseman shows that material matters in the work of Chinese artists, where the goal is to call attention to its subjects through the directness and immediacy of its material (like dust from 9/11, 1001 Chinese citizens, paintings made with gunpowder, written words) or the specificity of its sites (such as the Three Gorges Dam). Artists are working below the level of language where matter and gesture, texture and touch, instinct and intuition live. Not reduced to the words applied to them, art's subjects appear in their concrete particularity, embedded in the stories of their materials or their sites. Wiseman argues that it is global in being able to be understood by all thanks to its materials and the stories that accompany it, and the art is contemporary in having to make the case for itself that it is art. Finally, it satisfies Arthur Danto’s characterization of art as any representation that puts its subject in a new light by way of a rhetorical figure that the viewer interprets. The material art from China is the paradigm for an art that is global and contemporary.
Anxiety Aesthetics
Anxiety Aesthetics is the first book to consider a prehistory of contemporaneity in China through the emergent creative practices in the aftermath of the Mao era. Arguing that socialist residues underwrite contemporary Chinese art, complicating its theorization through Maoism, Jennifer Dorothy Lee traces a selection of historical events and controversies in late 1970s and early 1980s Beijing. Lee offers a fresh critical frame for doing symptomatic readings of protest ephemera and artistic interventions in the Beijing Spring social movement of 1978-80, while exploring the rhetoric of heated debates waged in institutional contexts prior to the '85 New Wave. Lee demonstrates how socialist aesthetic theories and structures continued to shape young artists' engagement with both space and selfhood and occupied the minds of figures looking to reform the nation. In magnifying this fleeting moment, Lee provides a new historical foundation for the unprecedented global exposure of contemporary Chinese art today.
Human Becomings
2021 CHOICE Outstanding Academic Title In Human Becomings, Roger T. Ames argues that the appropriateness of categorizing Confucian ethics as role ethics turns largely on the conception of person that is presupposed within the interpretive context of classical Chinese philosophy. By beginning with first self-consciously and critically theorizing the Confucian conception of persons as the starting point of Confucian ethics, Ames posits that the ultimate goal will be to take the Confucian tradition on its own terms and to let it speak with its own voice without overwriting it with cultural importances not its own. He argues that perhaps the most important contribution Confucian philosophy can make to contemporary ethical, social, and political discourse is the conception of focus-field, relationally constituted persons as a robust alternative to the ideology of individualism with single actors playing to win.
