Advertising and Lifestyle: A Brief History of Contemporary Chinese Advertising and Lifestyle Transition

Author(s):  
Wenhua Li ◽  
Jia Xin Xiao ◽  
Jiaying Huang
2015 ◽  
Vol 7 (2) ◽  
pp. 191-200
Author(s):  
Wiseman Bittner

In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far reaches of what art in China is and what Danto's definition allows at the same time that it suggests both the interiority of the practice of art and one way of being a woman.


2020 ◽  
Vol 1 (1) ◽  
pp. 246-257
Author(s):  
L. Xinmai

In the centre of this research is the problem of translation, study and reception of Solzhenitsyn’s works in the People’s Republic of China. A Chinese scholar of Slavic languages and literature, the author points out that Solzhenitsyn studies in China would be understandably interrupted for political reasons only to be resumed later, due to the growing interest in the writer’s works. Starting from 1963, there have been two distinct lines of study: Solzhenitsyn’s biography and his literary legacy. The first topic mainly attracts Chinese writers, historians, cultural scholars, philosophers, and professional critics; they present the readers with biographical facts in the context of the history of Soviet labour camps, dissident movement, etc. The second topic has specialists in Russian studies and foreign literature exploring the eternal topics in Solzhenitsyn’s works as well as his innovative techniques. According to the author, contemporary Chinese literary criticism is concerned with the latter area of research, while reception of Solzhenitsyn’s works is changing from negative to positive.


Author(s):  
Lily Chumley

This chapter begins with an oral history of the Central Academy of Fine Arts, describing how the school changed over the course of gaigekaifang. Gaigekaifang is often referred to in English as “reform” (gaige), putting the stress on the structural adjustments that fomented change, while kaifang roughly means “opening up.” This institutional history is given a broader social context through interpretations of three art exhibitions commemorating the thirtieth anniversary of reform and opening up in 2008. These exhibitions offer perspectives on the legacies of socialism and the novelties of reform that are variously aligned with or critical of official state narratives, showing how contemporary Chinese dreamworlds contest with one another.


This chapter examines an example of how minjian memories and minjian historiography transform our knowledge of the history of the Cultural Revolution. In the case of the end of the Rustication movement, many unofficial sources contradict the official version, represented by the press of the time or by the recent TV series Deng Xiaoping. In February 1979, while the People’s Daily published a speech criticizing the Yunnan educated youth who had come to Beijing to demand the right to return to their native cities, on the ground in Yunnan, the educated youths were in fact packing up and going back home by the thousands, after a victorious petitioning movement. This movement of historical importance was never officially acknowledged. In the TV series, the sudden end of the rustication movement is attributed to the wisdom of Deng Xiaoping and the petitioning movement (including strikes, hunger strikes and the sending of delegations) is replaced by the individual petition of a female educated youth wanting to go back home to take care of her gravely ill father who succeeds in touching the heart of a good cadre. The contribution of unofficial sources is thus particularly obvious in this case.


2013 ◽  
Vol 29 (2) ◽  
Author(s):  
Stefania Travagnin

Yinshun (1906–2005) is regarded as one of the most eminent monks in twentieth-century Chinese Buddhism. Previous research has argued that Yinshun especially undertook the mission of writing new commentaries on Madhyamaka texts. His efforts provoked a revival of interest towards the Madhyamaka school among contemporary Chinese Buddhists, and a re-assessment of the position of the writings of N?g?rjuna within the history of Chinese Buddhism. This article focuses on Yinshun’s restatement of the nature of the M?lamadhyamakak?rik?, a text that has always been regarded as fundamental in the Madhyamaka/San-lun tradition in China. The first part analyzes Yinshun’s textual study of the M?lamadhyamakak?rik?, examining his approach to the text, and how he came to terms with previous Chinese traditional textual scholarship and canonical scriptures. The second part discusses Yinshun’s interpretation of the text by moving away from the micro-context of Chinese San-lun scholarship, and addressing the macro-context of the modern Chinese understanding of the Mah?y?na.


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