Moulding the Socialist Subject: Cinema and Chinese Modernity (1949–1966), by Xiaoning Lu. Leiden: Brill, 2020. xi+200 pp. €110.00/US$132.00 (cloth).

2021 ◽  
Vol 86 ◽  
pp. 208-210
Author(s):  
Stephanie Donald
Keyword(s):  
Chinese Modernity

What exactly is Takeuchi Yoshimi's logic of Asian resistance?

2021 ◽  
pp. 1-16
Author(s):  
Dennis Stromback
Keyword(s):  
Literary Critic ◽  
Post Colonial ◽  
Chinese Modernity ◽  
Western Modernity ◽  
The Enlightenment ◽  
Positive Kernel ◽  
Failed Attempt ◽  
Alternative Sites ◽  
Global World

Abstract Literary Critic and Sinologist, Takeuchi Yoshimi, provides post-colonial and decolonial studies a logic of resistance that seeks to destabilize the colonialist projects of Western modernity without repeating its structural logic. In this regard, Takeuchi's logic of resistance functions as a dialectical lens into the “emancipatory traps” of Western modernity that frame the victim–victimizer paradox by turning negativity into a method of generating heuristic possibilities. But in this pursuit to look for alternative sites for mining theoretical possibilities, Takeuchi returns to the origins of Chinese modernity for imagining a proper logic of Asian resistance, that which could be deployed as a resource for negating the imperial gestures of modernist thought while affirming the positive kernel of the Enlightenment with the hope of bringing forth a global world that is continuously transformed by the cultural particulars themselves. The goal of this article is to further elucidate Takeuchi's logic of Asian resistance and to discuss how this logic can be read as having the potential to correct Nishida Kitarō's and the Kyoto School's failed attempt to overcome modernity.

scholarly journals Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan

Asian Studies ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Téa Sernelj
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Chinese Modernity ◽  
Material Development ◽  
Modern Chinese ◽  
Chinese Aesthetics ◽  
Basic Approaches ◽  
Art And Society ◽  
The Individual

Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

Chinese Modernity

2002 ◽  
pp. 153-164
Keyword(s):  
Chinese Modernity
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