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Journal articles on the topic 'Chinese art in America'
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1
Hayot, Eric. "Chinese Bodies, Chinese Futures." Representations 99, no. 1 (2007): 99–129. http://dx.doi.org/10.1525/rep.2007.99.1.99.
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Why did the coolie's body speak so forcefully to nineteenth-century America of its future? And how did that body's loquacious, obscene ventriloquism shape the imaginary scaffolding of America's utopias, its science fictions? This essay answers those questions by reading Arthur Vinton's Looking Further Backward (1890), one of the first American novels to imagine a Chinese military invasion of the United States.
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Mahdihassan, S. "The Manicuring System of Keeping Long Nails Originating From China." American Journal of Chinese Medicine 18, no. 03n04 (January 1990): 197–99. http://dx.doi.org/10.1142/s0192415x90000253.
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The manicuring art of keeping long nails is Chinese. This art has appealed to fashionable young ladies in America and Europe and has even reached Pakistan. That it is Chinese is revealed by illustrations taken from Dore.
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LaRochelle, Dominic. "Making the New Appear Old." Nova Religio 17, no. 3 (February 2013): 64–83. http://dx.doi.org/10.1525/nr.2014.17.3.64.
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The following article describes and analyzes the spirituality of taiji quan in the West. Constructed around a particular North American perception of this Chinese martial art, the spirituality is based on discursive strategies that enable authors of taiji quan books (and their readers) to make sense of their practice in a North American context. Using reception theories and Gadamer’s notion of fusion ofhorizon, three points will be highlighted here: 1) taiji quan books published in North America since the 1960s present this martial art as a spiritual practice 2) which the authors perceive as a Chinese Daoist spirituality 3) but which in fact is actualized in a North American socio-cultural context so that it meets the expectations of a certain category of practitioners. This means that the “spirituality of taiji quan” as presented by Western books has less to do with Chinese religious tradition than contemporary spirituality cloaked in old Daoist imagery.
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Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Bian, Xiang Yang, and Qi Zhang. "The Antique Chinese Embroidery in America and J.C. Morgenthau Co. in the early Twentieth Century." Advanced Materials Research 1048 (October 2014): 160–63. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.160.
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Accompany with the attentions in the international antique collection and auction market on Chinese embroidery, the knowledge of judgment, estimation, and evaluation is urgently needed to restore the historical imagination and the pursuit of aesthetic modernity. Researches of Chinese embroideries are mainly focused on the description of the history, pattern, stitches, styles and genres. Very few researches are about the market requirement and characteristic of collection and auction in the earlier stage. This article studied the auction catalogues and some historical documents of J.C. Morgenthau Co. in the early twentieth century. The situation of the antique market was outlined through classification and the dating records of the Chinese embroideries. We also found that the embroidered paintings had long been given more attention than the other embroidered art the similar as today. Further and more research works are needed for the potential market of the other historical Chinese embroidered art.
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Jones, Kelly Hacker. "Ancient Art Meets Modern Science: American Medicine Investigates Acupuncture, 1970–1980." Asian Review of World Histories 6, no. 1 (January 30, 2018): 68–97. http://dx.doi.org/10.1163/22879811-12340026.
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Abstract In the early 1970s, the so-called “acupuncture craze” swept America, introducing many Americans for the first time to this supposedly ancient therapy. Acupuncture was advertised as a cure-all, effective for everything from arthritis to smoking cessation, much to the dismay of the American Medical Association and other professional organizations. By April 1973, Nevada had passed a bill that legalized the use of acupuncture and established a State Board for Chinese Medicine, independent of its State Board for Medicine. In response, American physicians pursued two courses of action: they initiated biomedical studies that aimed at proving either a physiological or psychological effect generated by acupuncture, and they advocated for state-level regulations that restricted the use of acupuncture as an experimental therapy. Building on the work of historians of alternative medicine—including Anne Harrington and James Whorton—this paper contributes to our understanding of the position of alternative therapies within American medical practice.
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Cohen, Warren I. "Art Collecting as International Relations: Chinese Art and American Culture." Journal of American-East Asian Relations 1, no. 4 (1992): 409–34. http://dx.doi.org/10.1163/187656192x00087.
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Byrnes, Corey. "Chinese Landscapes of Desolation." Representations 147, no. 1 (2019): 124–60. http://dx.doi.org/10.1525/rep.2019.147.1.124.
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This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.
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Meng, Lijun. "Art and Society: Chu Teh-Chun and the Encounter in the Art Field." International Journal of Education and Humanities 3, no. 3 (July 26, 2022): 48–51. http://dx.doi.org/10.54097/ijeh.v3i3.1010.
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Through the process of "being" discovered in the modern art field by Chinese-American academician Chu Teh-chun, this paper finds that the development of modern Chinese art presents a different orientation from the Western "aesthetic autonomy": at the level of reception, the art field is influenced by the political and economic fields; in terms of artistic creation, Chu Teh-chun insists on the "fusion of East and West" and resolves the contradiction between the "aesthetic autonomy" and the social contextualization of Western art sociology in a transcendent way. In his artistic creation, Chu Teh-chun insists on the idea of "integration of East and West", resolving the contradiction between "aesthetic self-discipline" and social contextualization in Western art sociology in a transcendent way. The complete and independent personality of Chinese artists makes the art field different from the traditional art field: Chinese artists still influence the development of the art field in a two-way interaction through the use of unique mediators.
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Valjakka, Minna. "Graffiti in China – Chinese Graffiti?" Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 61–91. http://dx.doi.org/10.22439/cjas.v29i1.4021.
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This article focuses on the emergence of graffiti in Beijing and Shanghai as an intriguing part of the contemporary art scene. Approaching graffiti through the framework of visual culture and analyzing both the visual and social aspects of creating graffiti images, I argue that contemporary graffiti in these cities can be regarded primarily as creative self-expression emphasizing aesthetic intention and a renaming process, not as vandalism. Deriving primarily from information gathered during my fieldwork in Beijing and Shanghai, I also discuss the development of graffiti in China and its characteristics. In the Euro-American context, graffiti is still commonly regarded as criminal activity that destroys public property. This allegation, however, fails to take into account how the international graffiti culture has become an enduring genre of art with strong emphasis on style and aesthetic evaluation. Although creating graffiti is a controversial issue in China also, graffiti nevertheless exists, especially in the so-called art areas (districts known for their numerous art galleries, artist studios, art-related activities and, occasionally, art museums), or in the surrounding neighbourhoods.
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Liu, Yang, and Svetlana Anatolievna Mozgot. "The Making of Woodwind Art in China." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 301–10. http://dx.doi.org/10.34069/ai/2020.27.03.33.
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The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.
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LEI, DAPHNE. "The Production and Consumption of Chinese Theatre in Nineteenth-Century California." Theatre Research International 28, no. 3 (October 2003): 289–302. http://dx.doi.org/10.1017/s0307883303001147.
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The history of the earliest documented Chinese opera performances in California (1852) and their successors during the following decades reveal how Chinese theatre in the diaspora was produced and consumed by Chinese immigrants, European visitors and Americans. On the one hand, a familiar repertoire eased the nostalgia and reinforced the national consciousness of Chinese immigrants, while on the other, the ethnocentric reading and writing of Chinese theatre helped establish an eternal frontier in the ‘old West’ to protect American national identity in late nineteenth-century California's periods of economic and political turmoil. Finally, the exoticism of California's Chinese theatre in America contributed to a European sense of American cultural uniqueness. Chinese opera performances played a crucial role in the invention of Californian identity.
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Wang, Daisy Yiyou. "Charles Lang Freer and the collecting of Chinese Buddhist art in early-twentieth-century America." Journal of the History of Collections 28, no. 3 (July 28, 2015): 401–16. http://dx.doi.org/10.1093/jhc/fhv023.
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Sinelnyk, Alina. "Curating the international profile of contemporary Chinese ink medium art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 289–312. http://dx.doi.org/10.1386/jcca_00068_1.
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This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.
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Chaloupková, Lenka. "The Chinese Art Song, yishu gequ: Between Tradition and Modernity." AUC PHILOLOGICA 2021, no. 3 (February 15, 2022): 29–46. http://dx.doi.org/10.14712/24646830.2022.2.
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The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.
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Yue, Ming-Bao, and James S. Moy. "Marginal Sights: Staging the Chinese in America." Asian Theatre Journal 12, no. 1 (1995): 201. http://dx.doi.org/10.2307/1124479.
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Sang, Kangru. "A Comparative Study of Differences between Chinese and American Family Educational Approaches." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 70. http://dx.doi.org/10.26549/jetm.v1i1.295.
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Education is not only a science but an art. During the children's entire education, school education is in a dominant position but family education plays a key role. Children's growth needs education, help, and guide from parents. With the development of Chinese society and economy, the importance of family education of children grows more and more significant. But because of cultural traditions, lifestyle, social customs, ideas and sense of heritage, family education in China is still a weak part. The traditional concept of family education is being challenged. And many parents lack understanding of physiological and psychological development of the children during their growth, and lack proper education and effective methods to face the different stages of children's development. Consequently, parents tend to miss crucial educational opportunities. With different history, culture and social economic conditions between China and America, the formations of family education are producing a huge impact. American high level of culture and education also determines the United States the world leader in science and technology. The US has not only advanced school education but advanced family education, and their advanced educational concepts and teaching approaches are in line so that we can learn from American family education in a lot of places.Through questionnaire investigation and contrastive analysis, this thesis studies the differences between Chinese and American family educational approaches by three main aspects of intellectual education, moral and physical education, and life education. Firstly, this thesis discusses the reasons on the historical and cultural backgrounds and social conditions. Then this thesis describes the specific performance including the different status and contents, the comparison of parenting methods. In the end, this thesis has a brief summary of advantages and disadvantages of Chinese and American family educational approaches. This thesis tries to briefly describes and compares the intellectual education, moral and physical education and life education. Therefore, the aim of this thesis is in order to improve the quality of our family education. By studying the differences of family educational style between China and America, we do not mean to belittle our Chinese family education but is a kind of reflection. Absorbing American family education's advantages and removing the disadvantages of our family education style as well as keep our Chinese traditional merits of family education could make a benign circulation of healthy personnel training in our country. Thus, we could gain a competitive advantage in the future competition and gradually adapt to the world trend of the future.
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Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.
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This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Ping, Wang, and James S. Moy. "Marginal Sights: Staging the Chinese in America." TDR (1988-) 39, no. 1 (1995): 150. http://dx.doi.org/10.2307/1146408.
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Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.
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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.
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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (October 2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.
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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.
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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (June 2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.
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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with decolonizing spheres of the Third World inspired Chinese artists to embrace forms of indigenous Chinese art like ink painting in rejection of Euro-American modernism. In solidarity with other non-Western art spheres that developed similar nativist responses to the hegemony of Western modernism, Chinese artists belonged to a global postwar movement to assert political independence through artistic autonomy and national style.
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Sun, Yi, and Xi Chen. "A diachronic analysis of metaphor clusters in political discourse." Pragmatics and Society 9, no. 4 (December 31, 2018): 626–53. http://dx.doi.org/10.1075/ps.16055.sun.
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Abstract The complex and abstract character of political discourse makes it difficult to be understood directly by ordinary people. Assuming that use of metaphor could make political language easier to comprehend, more and more scholars began to focus on the study of metaphor in political discourse. However, most of these studies paid only attention to the contrastive study of single metaphor phenomena, while diachronic studies of metaphors still remained few. The present paper attempts to make a diachronic analysis of metaphor clusters in American and Chinese political discourse. The data employed are American and Chinese leaders’ political speeches, addressed to university students; the Chinese corpus contains 119021 characters, while the American corpus includes 118805 words. The research was implemented over three periods, namely before 1900, from 1900 to 2010, and from 2010 up to now (when the new term “metaphor cluster” was introduced to study the clustering phenomena of metaphor in different periods). In addition, both qualitative analysis and qualitative analysis were employed; the linguistic analysis tool Wmatrix and MIPVU procedures were adopted to identify metaphor clusters, thereby remedying the shortcomings of traditional methods which identify metaphor through researchers’ intuition and perception. Qualitative analysis was used to conduct a contrastive analysis of dominant metaphor clusters and how they tend to be used by the lecturers, both in the American and the Chinese corpuses. The data analysis shows that metaphor clusters abound in American and Chinese leaders’ political speeches in universities. Generally speaking, Chinese leaders adopt more metaphor clusters than do their American counterparts. Similar metaphor clusters in both data are: journey, family, and building. Circle and art metaphor clusters are unique to the Chinese data, while religion and drama metaphor clusters only occur in the American data. Before 1990, leaders adopted few metaphor clusters both in America and in China; the two decades from 1990 to 2010 witnessed a peak season of employing metaphor clusters in both Chinese and American leaders’ speeches, whereas after 2010, the usage of metaphor clusters in Chinese data ushered in a new stage of development, with a multitude of new metaphorical expressions having cultural connotations. The results reveal that the differences in the usage of metaphor clusters are mainly due to the various ideologies and cultural backgrounds of the two countries. In addition, our analysis also shows that the employment of metaphor clusters in political discourse could lead the audiences’ direction of thinking, reduce the audiences’ comprehensive burden, and arouse the audiences’ emotions.
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Zhang, Fan. "The “Authentic Evocation” in Ethnographic Photography as Art: Taking Lau Pok Chi’s Art Practice as an Example." Asian Culture and History 14, no. 2 (November 5, 2022): 183. http://dx.doi.org/10.5539/ach.v14n2p183.
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This article emphasizes the disciplinary problems of anthropology after the representation crisis, and the connected phenomenon of the intersection of the disciplines of art and anthropology, considering the art practice of the Chinese American photographer Lau Pok Chi, mainly his Cuban Chinese project, as an instance for showcasing the authenticity of photographic art as ethnographic practice and its value for the development of anthropology. After assessing the important motivation of the artist’s practice, which is rooted in his construction of self-identity, and the methods and principles of his “quasi-ethnographic” research, this paper recommends that the authenticity of such type of ethnographic photography also obtains from its exposure of reflexivity and the transcendence of the separation of “things” and “words”, which may further motivate the multiple explorations of the two-way intervention between these two disciplines.
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Kotera, Atsushi. "GREAT WALL?: OVERCOMING THE BOUNDARY BETWEEN EURO-AMERICAN AND SINO-JAPANESE SINOLOGIES." International Journal of Asian Studies 6, no. 2 (July 2009): 219–33. http://dx.doi.org/10.1017/s1479591409000229.
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It is well known that the nations of Europe and North America take the lead in the majority of disciplines in the academic world today. In most fields, unless a scholarly work makes reference in some way or other to the findings of Euro-American research, it is not considered worthy of mention. It is not, however, so common for the accomplishments of Euro-American scholars to be taken up by Japanese and Chinese scholars working in the field of ancient Chinese history. Presumably one reason for this is that in East Asia, especially in Japan and China, there are long and rich traditions of scholarship on Chinese ancient history that reach back to premodern times. Yet to just what extent is the research of European and American scholars referenced in the introductory books and general surveys concerning ancient Chinese history that are published in Japan and China?
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Bankston, Carl L. "Book Review: Claiming America: Constructing Chinese-American Identities during the Exclusion Era." International Migration Review 33, no. 2 (June 1999): 498–99. http://dx.doi.org/10.1177/019791839903300215.
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Zhang, Sen-gen, and Ning-kun Wang. "Latin American Studies in the People's Republic of China: Current and Future Prospects." Latin American Research Review 23, no. 1 (1988): 123–32. http://dx.doi.org/10.1017/s0023879100034749.
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Relations between China and Latin America date back hundreds of years and have intensified since the founding of the People's Republic of China. Recognizing that meaningful relations with Latin America require an understanding of that varied region, China has established appropriate study and research programs. This essay on current Latin American programs in the People's Republic of China will report on research organizations, research interests of Chinese scholars, and current trends within Latin American studies. The double objectives are to describe China's interest in Latin America and to establish closer contacts between Latin Americanists in China and the United States.
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Feng, Wei, and Ye Pi. "Antiquity to Modernity: Mei Lanfang’s Preparatory and Presentational Strategies for his American and Soviet Visits." New Theatre Quarterly 38, no. 1 (February 2022): 60–74. http://dx.doi.org/10.1017/s0266464x21000427.
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The Chinese actor Mei Lanfang and his retinue prepared several documents for his visits to the USA in 1930 and the USSR in 1935. Using these primary sources, this article explores the reasons why Mei presented traditional Chinese theatre differently in each context. One reason was winning popularity among specifically targeted audiences, as indicated by the carefully selected programmes, explanatory discourses, and illustrations from promotional materials. Through a comparative examination, this article argues that, for the American tour, Mei made traditional Chinese theatre an emblem of ancient Chinese art, while, for the Soviet tour, he endorsed the Soviet Union’s social and artistic enterprises, labelling traditional Chinese theatre a modern art. Both images, one static and the other dynamic, were authentic representations of the multifaceted contemporary Chinese theatre as it underwent modernization. Wei Feng received his PhD in Theatre Studies from Trinity College Dublin and teaches in the School of Foreign Languages and Literature at Shandong University. He is the author of Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present (Palgrave Macmillan, 2020). Ye Pi (corresponding author) teaches in the School of Foreign Languages and Literature at Shandong University, specializing in Russian literature.
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Liao, Yvonne. "‘Chinatown’ and Global Operatic Knowledge." Cambridge Opera Journal 31, no. 2-3 (July 2019): 280–90. http://dx.doi.org/10.1017/s0954586720000063.
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In recent years opera studies have taken a distinctly global and migratory turn: Nancy Rao's Chinatown Opera Theater is a notable example. Rao's book sheds new light on the art form's transpacific networks, Cantonese immigrant communities and their highly racialised experience of everyday entertainment in early twentieth-century America, thereby ‘strip[ping] the veneer of exoticism from [southern] Chinese [i.e., Cantonese] opera, placing it firmly within the bounds of American music and a profoundly American experience’. Still more illuminating is Rao's focus on the Chinatown theatre companies, their contracting of touring performers and their role in transoceanic commerce. Woven into the book is an intimately connected narrative of Cantonese opera in the 1920s, encompassing San Francisco, Vancouver, New York, Honolulu and (to a lesser extent) Havana. The selection of these locations is no coincidence, given their significance in the interwar years as port cities linked within imperial steamship networks, amidst the part-conflicting, part-intersecting agenda of dominant and emergent empires (for instance, Japan and the United States, in the case of the latter).
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Wen, Xia, Jingwen Shen, and Xin Gao. "A Comparative Study of Online Aesthetic Education Courses in Chinese and American Colleges." International Journal of Education and Humanities 5, no. 2 (October 25, 2022): 103–9. http://dx.doi.org/10.54097/ijeh.v5i2.2116.
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At present, the college aesthetic education is not compatible with the construction of an all-round education system in areas such as morals intelligence physical fitness work and aesthetics. In an era of big data and artificial intelligence, with the help of modern information intelligent means, college online aesthetic education courses take advanced and specialized aesthetic knowledge as the main content, and promote the development of students' "aesthetic and humanistic literacy", becoming a major starting point for deepening the comprehensive reform of aesthetic education in colleges. This paper simply takes college online aesthetic education courses offered by "iCourse" platform in China and "edX" platform in America as the objects, focusing on the comparison of three types of courses and their contents, such as art aesthetic education courses, professional aesthetic education courses, and comprehensive aesthetic education courses, to find their respective characteristics and problems, and to provide a reference for the integration of aesthetic education courses and information intelligence in Chinese colleges. It is expected to form a new pattern of aesthetic education in colleges, which is "comprehensively improving the quality of universal art education, promoting the combination of various disciplines and majors with innovation and entrepreneurship, and promoting the integration of aesthetic education with as morals intelligence physical fitness work in colleges", so as to provide an interpretive perspective for the construction of a diversified and high-quality socialist modern aesthetic education system with Chinese characteristics.
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Luo, Jun, and Guijun Li. "A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America." Studies in Linguistics and Literature 2, no. 1 (February 28, 2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.
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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower social position as well as their unfair treatment in American society that has been dominated by their counterparts’ culture through the careful combination of his poems with the unbearable experience they have been suffering from. What they haven’t focused on in their respective studies of dark brothers’ discriminated culture is a sound and detailed discussion about the dark brothers’ empirical bitterness in the whole textual spaces of one of their academic essays or monographs in correspondence to one of his poems. To reduce the academic limitations in this respect, this essay will take one of his poems, I, Too, Sing America, as an analytical example to give a culturalist interpretation of the dark brothers’ sound bitterness.</em>
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Mo, Lou. "Triangulating Africa: Contemporary art as a terrain for creating China‐Africa connections." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 69–89. http://dx.doi.org/10.1386/jcca_00056_1.
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Colonization and race are important issues influencing international contemporary art practice, but related discourse is often focused with Europe or America at one end of a binary dialogue opposing the peripheries and former colonies. Since mid-twentieth century, following the independence of new nation states and events such as the 1955 Bandung Conference, there has been an increasing awareness to create new axes of sociopolitical connections. China‐Africa relations evolve from this context but remains a topic mostly studied from state-level politics and economics. Recently, artists from the Greater Chinese context have started investigating ways of understanding Africa culturally through their artworks. Pu Yingwei (mainland China), Musquiqui Chihying (Taiwan) and Enoch Cheng (HK) are three young artists whose recent works focus on creating more intimate narratives to construct an understanding of China‐Africa relations. China is introduced in the dichotomous mode of discourse, and this new triangulated focus expand the understanding of China‐Africa relations by offering more nuanced perspectives.
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Chen, Mei-Fen. "Art, Culture, and Chinese-American Students: An On Going Case Study at a Chinese Community-based School." Marilyn Zurmuehlen Working Papers in Art Education 12, no. 1 (1993): 13–21. http://dx.doi.org/10.17077/2326-7070.1248.
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YEH, CHIOU-LING. "Images of Equality and Freedom: the Representation of Chinese American Men, America Today Magazine, and the Cultural Cold War in Asia." Journal of American Studies 53, no. 2 (January 23, 2018): 507–35. http://dx.doi.org/10.1017/s0021875817001840.
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This article analyzesAmerica Today, a United States Information Service publication circulated to Southeast Asian Chinese between 1949 and 1952. Although the federal government had no intention of lifting immigration restrictions, the magazine promoted the idea that the United States provided humanitarian assistance and abundant opportunities to Chinese immigrants as well as their American-born Chinese counterparts to achieve upward mobility, form a conjugal family, and enjoy patriarchal authority. The stories demonstrated an attempt to inspire Chinese male readers in Southeast Asia to support the United States and the “free world,” rather than Communism and the People's Republic of China.
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Lan, Feng, and Zhaoming Qian. "American Poetry and Chinese Art: New Perspectives on a Cross-Cultural Relationship." Twentieth Century Literature 50, no. 4 (2004): 436. http://dx.doi.org/10.2307/4149272.
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Lan, Feng. "American Poetry and Chinese Art: New Perspectives on a Cross-Cultural Relationship." Twentieth-Century Literature 50, no. 4 (2004): 436–39. http://dx.doi.org/10.1215/0041462x-2004-1006.
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Yang, Guangyu. "Inheritance and development of national elements in contemporary Chinese, American and Russian oil paintings." Linguistics and Culture Review 5, S2 (July 15, 2021): 1–15. http://dx.doi.org/10.21744/lingcure.v5ns2.1326.
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When speaking of semiosis of the visual art it is worth noting that it can be considered also in the aspect of semantics, which studies relation of sign elements to the world. Semantic side of an image is related to theory of art content, meaning of creation, spirituality, in particular, the symbol theory. Together with forming the idea of painting as a source of literature data and accordingly understanding of a painting in traditional literature paradigm as source of learning the outside world. The authors of the article demonstrate solidarity of oil painting in the stylistic understanding of the integrity of the image perception through the method of knowledge. In particular, the connection between figurativeness and semeiotics, which arises in the process of painting learning on the basis of literature researching and forming of artistic taste. In the article, it is shown that development of figurativeness in art should be based on art methods, in which literature is defined. Authors clarify that this is the main difference between Chinese painting and similar cultural forms. Practical application of research may be: to form educational programs and develop in integral image of artistic development.
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Zheng, Yi. "Writing about women in ghost stories: subversive representations of ideal femininity in “Nie Xiaoqian” and “Luella Miller”." Neohelicon 47, no. 2 (March 5, 2020): 751–66. http://dx.doi.org/10.1007/s11059-020-00524-3.
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AbstractOn the one hand, because of the double historical prejudices from literary criticism against ghost stories and women’s writing, little attention has been paid to investigate the ideals of femininity in women’s ghost stories in nineteenth-century America. This article examines “Luella Miller,” a short story by Mary E. Wilkins Freeman, who indirectly but sharply criticized the ideal of femininity in her time by creating an exaggerated example of the cult of feminine fragility. On the other hand, although extensive research has been done on Chinese ghost stories, especially on the ghost heroines in Pu Songling’s Strange Stories from a Chinese Studio, there are few studies comparing the Chinese and the American ones. By comparing “Luella Miller” and Pu’s “Nie Xiaoqian,” this article does not primarily aim to list the similarities and differences between the Chinese and the American ideals of femininity, but to provide fresh insights into how both Freeman and Pu capitalized on the literary possibilities of the supernatural, because only in ghost stories they could write about women in ways impossible in “high literature.”
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Miao, Fangfei. "Here and Now—Chinese People's Self-Representation in a Transnational Context." Congress on Research in Dance Conference Proceedings 2015 (2015): 111–16. http://dx.doi.org/10.1017/cor.2015.19.
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This paper is part of my dissertation that examines Chinese modern dance choreographers who have learned modern dance from American teachers. In it, I investigate a key topic in my dissertation—self-representation in a transnational context. By studying a Chinese documentary film Dance with Farm Workers (2001), I argue that farm workers, the marginalized group in contemporary China, are further alienated and marginalized in art. The choreographer Wen Hui and the film director Wu Wenguang fail to speak for the farm workers in the film's international tour. In Dance with Farm Workers, dance and film constitute a double-layered representation that silences Chinese farm workers. Also, this presentation arouses a question I must consider in writing my dissertation: how should I position myself, as a Chinese PhD student in American academia, in order to write about Chinese dance?
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Ma, Jian Wu, Qian Zhang, and Jun Duo Guan. "Enlightment of American Green Land Rainwater Management Art to Chinese Modern Landscape Architecture." Applied Mechanics and Materials 209-211 (October 2012): 422–25. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.422.
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Abstract：Green lands are natural rainwater management facilities. Natural landscapes manage rainfall through a combination of evapotranspiration, infiltration, and runoff. Artful rainwater management is emulating nature split-flow rainwater in the processes of collection, conveyance and retention. Through artful design, the rainwater management facility will become a kind of site amenity that has varied values, functions, attributes. This paper introduces the American rainwater management theories and practices, proposes that the Chinese landscape architecture planning idea and design methodology should be changed. That is to use green land as natural rainwater management facility, to put the rainwater management into the procedure of landscape architecture planning and design, to ensure enough permeable area, to take measures to collect, filter and purify impervious surface runoff, to display the rainwater management process, to show the various values of drainage system. Based on the rainwater management, new Chinese modern landscape architecture model is put forward.
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Xu, Minhui. "Translation of Modern Chinese Literature in America: An Interview with Jeffrey C. Kinkley." ariel: A Review of International English Literature 50, no. 4 (2019): 127–38. http://dx.doi.org/10.1353/ari.2019.0036.
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Stadter, Michael, and Gao Jun. "Shame East and West: similarities, differences, culture, and self." Psychoanalysis and Psychotherapy in China 3, no. 1 (June 1, 2020): 1–21. http://dx.doi.org/10.33212/ppc.v3n1.2020.1.
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Shame is an innate human affect and is also powerfully influenced by culture. This article compares and contrasts shame in China and in America. First, the physiology, development, and experience of shame are discussed. Then, a Western perspective (psychoanalytic object relations theory) is presented followed by a Chinese perspective (interdependent model). Shame in the two cultures is compared and contrasted and empirical research is also presented. The authors’ conclusions include the following: object relations theory is a useful perspective in understanding shame and the development of self in both cultures; shame is viewed more positively in China than in the US and is used more to motivate prosocial behaviour by families and authorities; Americans experience more helplessness and smallness when shamed; Chinese have more desire to repair and feel more responsible for the shameful incident; Chinese are more likely to feel vicarious shame or guilt when someone they are connected to commits a shameful act; Lewis’ American shame model effectively distinguishes shame from guilt for Americans but does not clearly differentiate the two for Chinese, while Xie’s Chinese self afflicted/other afflicted model does so. The article concludes with suggestions for future research and implications for clinical practice.
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ZHANG, BENZI. "Of Nonlimited Locality/Identity: Chinese Diaspora Poetry in America." Journal of American Studies 40, no. 1 (April 2006): 133–53. http://dx.doi.org/10.1017/s0021875806000788.
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Robinson, Thomas W. "America in Taiwan' Post Cold-War Foreign Relations." China Quarterly 148 (December 1996): 1340–61. http://dx.doi.org/10.1017/s0305741000050657.
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Since losing the mainland to Communist conquest in 1949 (more accurately, since the North Korean invasion of the South in June 1950), Taiwan has become a continuous foreign policy protectorate of the United States. Had it not been for American security protection, Taiwan would long since have come under Beijing's rule. Several causative agents, separately, in combination or sequentially, kept Taiwan out of mainland Chinese hands. These included, initially, the American Seventh Fleet, then generalized American military might in concert with the American-Taiwan Defence Treaty of 1954, thence the three American- Chinese communiques forming the basis of post-1971 relations between the two countries, concomitantly the American Congress's Taiwan Relations Act of 1979 and the accompanying (and subsequent) legislative history, and, throughout, China's inability to overcome, with a high probability of success, active Taiwan military resistance and probable American military support. While the economic and, more recently, political transformation of Taiwan materially strengthened that entity such that its defensibility against attack rose greatly, to say nothing of its overall attractiveness, from the onset of the People's Republic of China it was the American connection that was the sine qua non of Taiwan's quasi-independent existence.
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Tong, Kevin L., and Betsy Jo Spicer. "The Chinese Palliative Patient and Family in North America: A Cultural Perspective." Journal of Palliative Care 10, no. 1 (March 1994): 26–28. http://dx.doi.org/10.1177/082585979401000107.
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Professionals may become frustrated when caring for the Chinese palliative patient and family, as we may expect them to behave or act like us. This paper discusses two distinctive characteristics which may be unfamiliar to Western caregivers. The first pertains to the concept of family-based popular health care, where the family assumes the major role of decision-maker on behalf of the patient. The second relates to the Eastern belief of silence surrounding the discussion of dying and the impending death, versus our Western orientation, which advocates openness and honesty. By gaining a greater understanding of these cultural traditions and practices, we can deliver more culturally sensitive health care to the Chinese patient and family.
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Liu, Lydia H. "The Ghost of Arthur H. Smith in the Mirror of Cultural Translation." Journal of American-East Asian Relations 20, no. 4 (2013): 406–14. http://dx.doi.org/10.1163/18765610-02004004.
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Arthur H. Smith’s Chinese Characteristics (1890) remained the most widely read American book on China until Pearl Buck’s The Good Earth (1931). Smith’s collection of pungent and humorous essays, originally written for white expatriates in Asia, was accepted by Americans at home as a wise and authentic handbook. The book was soon translated into Japanese (1896), classical Chinese (1903), and at least three more times into Chinese since 1990. The characteristics Smith identified reflect his conception of the American Way of Life, racial hierarchy, the idea of progress, and the middle-class values with which he was brought up. He used race and “national character” to explain Chinese food, dress, body care, music, art, language, and architecture, as well as politics and religion. Lu Xun, the preeminent Chinese cultural critic of the early twentieth century, pondered why his country had been defeated and came to believe that the character of his countrymen was the key to their future survival. Smith’s criticisms were valuable for this task of introspection but Lu Xun took him to task for misunderstanding the concept of “face” because he did not grasp it in the social context of unequal power. The ghost of Arthur Smith thus haunts both Chinese and Americans.
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Shih, C. S. Stone. "Book Review: Chinese Christians in America: Conversion, Assimilation, and Adhesive Identities." International Migration Review 35, no. 1 (March 2001): 333–34. http://dx.doi.org/10.1111/j.1747-7379.2001.tb00018.xn.
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Putney, Dani. "Sino-Filipino Artistic Collaboration." Athanor 39 (November 22, 2022): 35–52. http://dx.doi.org/10.33009/fsu_athanor130974.
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The Hispano-Philippine style of ivory sculpture production in colonial Manila is almost synonymous with the growth of Spain’s global empire from the sixteenth century onward. These sculptures have been studied by historians and art critics alike in terms of Latin American consumer demand, marketability, Catholic devotion and conversion, and “Chineseness,” among other veins of inquiry. Common across these investigations is discussion of the significance of Chinese immigrants within the Spanish colony, who have been consistently identified as the creators of these sculptures. One community of artisans important to Philippine sculpture-making, however, has been understudied: the native Filipinos of colonial Manila, by far the largest group in the city. Why has the role of native Filipinos, despite being documented as painters and sculptors contemporaneous with the Chinese immigrants, been disregarded in the art-historical record of ivory sculpture production? In this article, I address these “silences” within the Hispano-Philippine sculptural archive by historicizing the sociocultural milieu of colonial Manila, performing visual analysis informed by postcolonial theory, and interrogating commonly referenced sources and narratives, an endeavor I maintain will enable art historians to contextualize these sculptures within a larger imperial, intercultural, and intersubjective framework of artistic creation.