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This edited collection brings together essays that share in a
critical attention to visual culture as a means of representing,
contributing to and/or intervening with discursive struggles and
territorial conflicts currently taking place at and across the
outward-facing and internal borders of the People's Republic of
China. Elucidated by the essays collected here for the first time
is a constellation of what might be described as visual culture
wars comprising resistances on numerous fronts not only to the
growing power and expansiveness of the Chinese state but also the
residues of a once pervasively suppressive Western
colonialism/imperialism. The present volume addresses visual
culture related to struggles and conflicts at the borders of Hong
Kong, the South China Sea and Taiwan as well within the PRC with
regard the so-called "Great Firewall of China" and differences in
discursive outlook between China and the West on the significances
of art, technology, gender and sexuality. In doing so, it provides
a vital index of twenty-first century China's diversely conflicted
status as a contemporary nation-state and arguably nascent empire.
Focusing on transculturality, this edited volume explores how the
role of translation and the idea of (un)translatability in the
transformative complementation of different civilizations
facilitates the transcultural connection between Chinese and other
cultures in the modern era. Bringing together established
international scholars and emerging new voices, this collection
explores the linguistic, social, and cultural implications of
translation and transculturality. The 13 chapters not only discuss
the translation of literature, but also break new ground by
addressing the translation of cinema, performance, and the visual
arts, which are active bearers of modern and contemporary culture
that are often neglected by academics. Through an engagement with
these diverse fields, the title aims not only to reflect on how
translation has reproduced values, concepts, and cultural forms,
but also to stimulate the emergence of new possibilities in the
dynamic transcultural interplay between China and the diverse
national, cultural-linguistic, and contexts of Europe, the
Americas, and Asia. It shows how cultures have been appropriated,
misunderstood, transformed, and reconstructed through processes of
linguistic mediation, as well as how knowledge, understanding, and
connections have been generated through transculturality. The book
will be a must read for scholars and students of translation
studies, transcultural studies, and Chinese studies.
'Avant-garde' Art Groups in China gives a critical account of four
of the most significant avant-garde Chinese art groups and
associations of the late 1970s and '80s. It is made up largely of
conversations conducted by the author with members of these
organizations that provide insight into the circumstances of
artistic production during the decade leading up to the Tiananmen
Square Massacre of 1989. The conversations are supported by an
extended introduction and other comprehensive notes that give a
detailed overview of the historical circumstances under which the
groups and associations developed.
In recent decades the previously assumed dominance within the
international art world of western(ized) conceptions of aesthetic
modernity has been challenged by a critically becalming
diversification of cultural outlooks widely referred to as
'contemporaneity'. Contributing to that diversification are
assertions within mainland China of essential differences between
Chinese and western art. In response to the critical impasse posed
by contemporaneity, Paul Gladston charts a historical relay of
mutually formative interactions between the artworlds of China and
the West as part of a new transcultural theory of artistic
criticality. Informed by deconstructivism as well as syncretic
Confucianism, Gladston extends this theory to a reading of the work
of the artist Zhang Peili and his involvement with the
Hangzhou-based art group, the Pond Association (Chi she). Revealed
is a critical aesthetic productively resistant to any single
interpretative viewpoint, including those of Chinese exceptionalism
and the supposed immanence of deconstructivist uncertainty.
Addressing art in and from the People's Republic of China as a
significant aspect of post-West contemporaneity, Gladston provides
a new critical understanding of what it means to be 'contemporary'
and the profound changes taking place in the art world today.
The book presents a range of articles and discussions that offer
critical insights into the development of contemporary Chinese art,
both within China and internationally. It brings together selected
writings, both published and unpublished, by Paul Gladston, one of
the foremost international scholars on contemporary Chinese art.
The articles are based on extensive first-hand research, much of
which was carried out during an extended residence in China between
2005 and 2010. In contrast to many other writers on contemporary
Chinese art, Gladston analyses his subject with specific reference
to the concerns of critical theory. In his writings he consistently
argues for a "polylogic" (multi-voiced) approach to research and
analysis grounded in painstaking attention to local, regional and
international conditions of artistic production, reception and
display.
This edited collection brings together essays that share in a
critical attention to visual culture as a means of representing,
contributing to and/or intervening with discursive struggles and
territorial conflicts currently taking place at and across the
outward-facing and internal borders of the People's Republic of
China. Elucidated by the essays collected here for the first time
is a constellation of what might be described as visual culture
wars comprising resistances on numerous fronts not only to the
growing power and expansiveness of the Chinese state but also the
residues of a once pervasively suppressive Western
colonialism/imperialism. The present volume addresses visual
culture related to struggles and conflicts at the borders of Hong
Kong, the South China Sea and Taiwan as well within the PRC with
regard the so-called "Great Firewall of China" and differences in
discursive outlook between China and the West on the significances
of art, technology, gender and sexuality. In doing so, it provides
a vital index of twenty-first century China's diversely conflicted
status as a contemporary nation-state and arguably nascent empire.
In recent decades the previously assumed dominance within the
international art world of western(ized) conceptions of aesthetic
modernity has been challenged by a critically becalming
diversification of cultural outlooks widely referred to as
'contemporaneity'. Contributing to that diversification are
assertions within mainland China of essential differences between
Chinese and western art. In response to the critical impasse posed
by contemporaneity, Paul Gladston charts a historical relay of
mutually formative interactions between the artworlds of China and
the West as part of a new transcultural theory of artistic
criticality. Informed by deconstructivism as well as syncretic
Confucianism, Gladston extends this theory to a reading of the work
of the artist Zhang Peili and his involvement with the
Hangzhou-based art group, the Pond Association (Chi she). Revealed
is a critical aesthetic productively resistant to any single
interpretative viewpoint, including those of Chinese exceptionalism
and the supposed immanence of deconstructivist uncertainty.
Addressing art in and from the People's Republic of China as a
significant aspect of post-West contemporaneity, Gladston provides
a new critical understanding of what it means to be 'contemporary'
and the profound changes taking place in the art world today.
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