This collection of essays addresses the perception that our understanding of modern China will be enhanced by opening the literature of China to more rigorous theoretical and comparative study. In doing so, the book confronts the problematic and complex subject of China's literary, theoretical, and cultural responses to the experience of the modern.
With chapters by writers, scholars, and critics from mainland China, Hong Kong, and the United States, this volume explores the complexity of representing modernity within the Chinese context. Addressing the problem of finding a proper language for articulating fundamental issues in the historical experience of twentieth-century China, the authors critically re-examine notions of realism, the self/subject, and modernity and draw on perspectives from feminist criticism, ideological analysis, and postmodern theory. Among the many topics explored are subjectivity in Chinese cultural theory, Chinese gender relations, the viability of a Lacanian approach to Chinese identity, the politics of subversion in Chinese reportage, and the ambivalent status of the icon of paternity since Mao.
At the same time this book offers a probing look into the transformation that Chinese culture as well as the study of that culture is currently undergoing, it also reconfirms private discourse as an ideal site for an investigation into a real and imaginary, private and collective encounter with history.
Contributors. Liu Kang, Xiaobing Tang, Liu Zaifu, Stephen Chan, Lydia H. Liu, Wendy Larson, Theodore Huters, David Wang, Tonglin Lu, Yingjin Zhang, Yuejin Wang, Li Tuo, Leo Ou-fan Lee.
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隻讀瞭首尾兩篇,作為對80年代思潮的部分理解
评分現代人稱之為cultural critiques 和人類學當中的cultural traits不同
评分隻讀瞭Wang Yuejin解釋毛時代之後中國肖像畫那篇,主要用的是羅中立寫實主義作品的例子。作者竟然可以從《歲月》那幅畫中看齣一種關乎歷史認識論的不安感,也是醉瞭。
评分隻讀瞭首尾兩篇,作為對80年代思潮的部分理解
评分現代人稱之為cultural critiques 和人類學當中的cultural traits不同
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