scholarly journals Performative Strategies in Contemporary Chinese Avant-garde Poetry

2020 ◽  
Vol 19 (10) ◽  
pp. 100-116
Author(s):  
Yulia A. Dreyzis
Keyword(s):  
Modern Art ◽  
Experimental Poetry ◽  
Chinese Poetry ◽  
Avant Garde ◽  
Xu Bing ◽  
Contemporary Chinese

The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Examples of this phenomena can be found in Chinese poetry in the works of Ouyang Jianghe, Yang Xiaobin, Ouyang Yu, Xia Yu, Chen Li, Xu Bing, Wuqing and many more experimental artists. Their creative use of word shift principles shows how performative strategies are adapted in contemporary Chinese poetry keeping in mind the specific hanzi (character) medium that it is based upon. It seems both a continuation of a long-existing tradition and a radical exploration of the ‘iconic turn’ in the field of language.

scholarly journals The Making of Minjian: Yi Sha's Poetics and Poetry Activities

2021 ◽  
Author(s):  
◽  
Yujing Liang
Keyword(s):  
World Literature ◽  
Focal Point ◽  
Major Elements ◽  
Chinese Poetry ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
History Of ◽  
Contemporary Chinese ◽  
Outstanding Representative

<p>This thesis investigates and critiques the notion of minjian through a case study of Yi Sha 伊沙 (b. 1966), a key figure of Chinese minjian poetry since its emergence in the 1990s. The term minjian became a focal point during the Panfeng Polemic in 1999, a most significant event in the history of contemporary Chinese poetry, when minjian was adopted to name one of the rivalling poetry groups and triggered an influential debate that shaped the contour of contemporary Chinese poetry in the ensuing decade. Minjian became a prevailing keyword on the Chinese poetry scene of the 2000s and inspired numerous unofficial poetry groups both in print and online. Though the term was frequently evoked and widely discussed, its connotations remained uncertain. Through my study of Yi Sha’s poetry and poetry activities, I identify two major elements of minjian: colloquial poetics and unofficial stance. Both elements harken back to the classical tradition and had long manifested in contemporary Chinese poetry, yet it was not until the Panfeng Polemic when they were explicitly joined together to defend and define a group that was to be called the minjian poets. Yi Sha rose to prominence after the Panfeng Polemic and became an outstanding representative minjian poet largely responsible for the ‘making’ of minjian into a literary and cultural phenomenon. By combining discourse analysis with a critical biography of the poet, this research demonstrates the complex relationship that minjian poetry has with China’s cultural establishment, the literary avant-garde, and world literature. I argue that Yi Sha’s minjian is both a political stance and an aesthetic choice, with broad cultural and ideological repercussions; understanding the concept of minjian is imperative to the understanding of contemporary Chinese poetry.</p>

scholarly journals Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy

2019 ◽  
Vol 24 (4) ◽  
pp. 704-712
Author(s):  
Yong Wang ◽  
Olga V. Vinogradova
Keyword(s):  
Chinese Poetry ◽  
Silver Age ◽  
Avant Garde ◽  
Experimental Search ◽  
The World ◽  
Russian Poetry ◽  
Diverse Area ◽  
Poetic Texts ◽  
Further Development ◽  
Contemporary Chinese

For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.

scholarly journals The Making of Minjian: Yi Sha's Poetics and Poetry Activities

2021 ◽  
Author(s):  
◽  
Yujing Liang
Keyword(s):  
World Literature ◽  
Focal Point ◽  
Major Elements ◽  
Chinese Poetry ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
History Of ◽  
Contemporary Chinese ◽  
Outstanding Representative

<p>This thesis investigates and critiques the notion of minjian through a case study of Yi Sha 伊沙 (b. 1966), a key figure of Chinese minjian poetry since its emergence in the 1990s. The term minjian became a focal point during the Panfeng Polemic in 1999, a most significant event in the history of contemporary Chinese poetry, when minjian was adopted to name one of the rivalling poetry groups and triggered an influential debate that shaped the contour of contemporary Chinese poetry in the ensuing decade. Minjian became a prevailing keyword on the Chinese poetry scene of the 2000s and inspired numerous unofficial poetry groups both in print and online. Though the term was frequently evoked and widely discussed, its connotations remained uncertain. Through my study of Yi Sha’s poetry and poetry activities, I identify two major elements of minjian: colloquial poetics and unofficial stance. Both elements harken back to the classical tradition and had long manifested in contemporary Chinese poetry, yet it was not until the Panfeng Polemic when they were explicitly joined together to defend and define a group that was to be called the minjian poets. Yi Sha rose to prominence after the Panfeng Polemic and became an outstanding representative minjian poet largely responsible for the ‘making’ of minjian into a literary and cultural phenomenon. By combining discourse analysis with a critical biography of the poet, this research demonstrates the complex relationship that minjian poetry has with China’s cultural establishment, the literary avant-garde, and world literature. I argue that Yi Sha’s minjian is both a political stance and an aesthetic choice, with broad cultural and ideological repercussions; understanding the concept of minjian is imperative to the understanding of contemporary Chinese poetry.</p>

scholarly journals Research on Contemporary “Chinese Theme” Fashion Design based on Aesthetic Distance Theory

2020 ◽  
Vol 16 (10) ◽  
pp. 57
Author(s):  
Yuru Ma ◽  
Xiangyang Bian
Keyword(s):  
Fundamental Principle ◽  
Fashion Design ◽  
Chinese People ◽  
The West ◽  
Basic Principles ◽  
Design Elements ◽  
Avant Garde ◽  
Clothing Design ◽  
Aesthetic Distance ◽  
Contemporary Chinese

Chinese theme or style has a long history in international fashion design; it is a common theme for Chinese and western designers to pursue Oriental sentiment and express Oriental aesthetics. However, for contemporary Chinese theme fashion design, Chinese and western designers have different understanding and interpretation, and there are many differences in design techniques and effects. In this paper, we propose to research on contemporary Chinese theme fashion design based on the theory of aesthetic distance, and interpret the essence of Chinese theme fashion design from different aesthetic distances. In addition, the basic principles of contemporary Chinese theme clothing design are summarized through the analysis and comparison of Chinese and western design cases. The results show that Chinese theme design, to the West, represents &ldquo;the other&rdquo; and &ldquo;exotic theme&rdquo; in a modern way; while in the eyes of Chinese people, it is a contemporary embodiment of &ldquo;retro theme&rdquo;. The clothing design in modern Chinese fashion should, based on the design elements collected in an expansive and deep way, pursue the balance and integration of &ldquo;conservative&rdquo; and &ldquo;avant-garde&rdquo; elements and the harmony of &ldquo;form&rdquo; and &ldquo;spirit&rdquo;, abiding by the fundamental principle of &ldquo;absorbing tradition&rdquo; to &ldquo;create the present&rdquo;.

scholarly journals The Round Table 03 圆桌: A Conversation with Xu Bing

2015 ◽  
Vol 4 ◽  
pp. 201-207
Author(s):  
Madeline Eschenburg ◽  
Ellen Larson
Keyword(s):  
New York ◽  
Fine Arts ◽  
Round Table ◽  
Early Career ◽  
Xu Bing ◽  
New Generation ◽  
Contemporary Chinese

The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

The Artist’s Experience of Migration

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Avant Garde ◽  
Transnational Mobility ◽  
Art Scene

This chapter looks at the shift in Medardo Rosso's position from an outsider in his own country to a foreigner in France. Rosso's move to Paris belongs to the wider phenomenon of increased migration by artists to the principal metropolis of modern art toward the end of the century. It also confirms his awareness of a new kind of transnational mobility. Tracing Rosso's trajectory as a form of self-exile characteristic of cultural anarchists, the chapter examines his hopeful but obstacle-ridden expatriation and his struggle to make avant-garde sculpture in the epoch and city dominated by Rodin. Paris at the end of the nineteenth-century offered Rosso new opportunities, such as a vibrant art scene, a burgeoning market for serial sculpture, and a network of sophisticated artists, collectors, and critics.

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