Images Of Minorities In The Art Of The People S Republic Of China
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China's National Minority Education by Gerard A. Postiglione Pdf
This volume focuses on policies and practices in the education of China's national minorities with the purpose of assessing the goals and impact of state sponsored education for China's non-Han people's. The essays in the four sections of this book examine cultural challenges to state schooling, the extent of educational provision in minority areas, the perspectives of Tibetan and Uyghur minorities toward state education, along with providing case studies of four national minorities. The book makes the point that despite the authoritarian character of China's state schooling, diversity reigns.
Asia Society. Galleries,San Francisco Museum of Modern Art
Author : Asia Society. Galleries,San Francisco Museum of Modern Art Publisher : Univ of California Press Page : 224 pages File Size : 53,7 Mb Release : 1998-01-01 Category : Art ISBN : 0520217470
Inside/out by Asia Society. Galleries,San Francisco Museum of Modern Art Pdf
The late twentieth century has been marked by momentous political, economic, and social change throughout the Chinese world. Deeply rooted cultural assumptions and ancient visual traditions have been challenged by rapid modernization and conflicting global, ethnic, and local identities. Inside/Out: New Chinese Art was the first major international exhibition to explore the impact of these challenges on artists in the People's Republic of China, Hong Kong, Taiwan, and those of the 1980s Diaspora. The multifaceted exhibition and accompanying catalog encompass an extensive range of artistic forms, including installation, video, and performance art as well as more traditional media such as oils and ink. The art is grouped according to themes, some specific to regions and others that reflect widespread and overlapping trends. With the inclusion of ambiguous territories like Hong Kong and Taiwan, the exhibition opens up a perspective of modern Chinese art from the "outside" as well as a looking-out from the "inside." The catalog features essays by eminent Chinese art scholars and curators along with leading curators and historians of Western art. Together they promote Chinese art's rightful place in the contemporary global cultural arena and at the same time acknowledge the influence of its rich heritage. The diversity and freshness of the exhibition reflects the explosion of creativity among Chinese artists during the past decade. The ironic social commentary of Li Shan's The Rouge Series, no. 24, the "apartment art" of artists reacting against the traditional patronage of large museums and corporations, and Wang Jin's sly humor in portraying consumer fetishes in today's China are a few examples of the spirited artistry awaiting the viewers of Inside/Out.
Consuming Ethnicity and Nationalism by Kosaku Yoshino Pdf
This book is unique in applying a consumption approach to the study of ethnicity and nationalism, thereby challenging the usual 'top down' approach to nation-formation. Contributors from a variety of disciplines examine the on-going consumption of minority and national cultures by looking at different forms of consumption, including a national lottery, theme parks, museums, cross-cultural handbooks, popular song and audio-visual media. Chapters span diverse parts of Asia '- from Korea, Japan and China to Malaysia and Sri Lanka '- imparting to the volume a rare comparative quality. It should appeal to anyone interested in Asian Studies, as well as in the sociology and anthropology of culture, nationalism and globalisation.
Author : Pál Nyiri,Joana Breidenbach Publisher : Central European University Press Page : 367 pages File Size : 48,7 Mb Release : 2005-03-10 Category : Political Science ISBN : 9786155053962
China Inside Out by Pál Nyiri,Joana Breidenbach Pdf
The "war on terror" has generated a scramble for expertise on Islamic or Asian "culture" and revived support for area studies, but it has done so at the cost of reviving the kinds of dangerous generalizations that area studies have rightly been accused of. This book provides a much-needed perspective on area studies, a perspective that is attentive to both manifestations of "traditional culture" and the new global relationships in which they are being played out. The authors shake off the shackles of the orientalist legacy but retain a close reading of local processes. They challenge the boundaries of China and question its study from different perspectives, but believe that area studies have a role to play if their geographies are studied according to certain common problems.In the case of China, the book shows the diverse array of critical but solidly grounded research approaches that can be used in studying a society. Its approach neither trivializes nor dismisses the elusive effects of culture, and it pays attention to both the state and the multiplicity of voices that challenge it.
Author : David Clarke Publisher : Hong Kong University Press Page : 248 pages File Size : 43,6 Mb Release : 2019-01-22 Category : Art ISBN : 9789888455911
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself during the Republican and Communist eras, for instance, it also looks at the art of colonial Hong Kong, Taiwan and the Chinese diaspora. Similarly, it gives equal prominence to artists employing tools and idioms of indigenous Chinese origin and those who engage with international styles and contemporary media. In this way it writes China into the global story of modern art as a whole at a moment in intellectual history when Western-centred stories of modern and contemporary culture are finally being recognized as parochial and inadequate. Assuming no previous background knowledge of Chinese history and culture, this concise yet comprehensive and richly-illustrated book will appeal to those who already have an established interest in modern Chinese art and those for whom this is a novel topic. It will be of particular value to students of Chinese art or modern art in general, but it is also for those in the wider reading public with a curiosity about modern China. At a time when that country has become a major actor on the world stage in all sorts of ways, accessible sources of information concerning its modern visual culture are nevertheless surprisingly scarce. As a consequence, a fully nuanced picture of China’s place in the modern world remains elusive. China—Art—Modernity is a timely remedy for that situation. ‘Here is a book that offers a comprehensive account of the dizzying transformations of Chinese art and society in the twentieth and twenty-first centuries. Breaking free of conventional dichotomies between traditional and modern, Chinese and Western that have hobbled earlier studies, Clarke’s highly original book is exactly what I would assign my own students. Anyone eager to understand developments in China within the global history of modern art should read this book.’ —Robert E. Harrist Jr., Columbia University ‘Clarke’s book presents a critically astute mapping of the arts of modern and contemporary China. It highlights the significance of urban and industrial contexts, migration, diasporas and the margins of the mainland, while imaginatively seeking to inscribe its subject into the broader story of modern art. A timely and reliable intervention—and indispensable for the student and non-specialist reader.’ —Shane McCausland, SOAS University of London
"On a visit to eastern Hui’an in 1994, Sara Friedman was surprised to see a married woman reluctant to visit her conjugal home. The author would soon learn that this practice was typical of the area, along with distinctive female dress styles, gender divisions of labor, and powerful same-sex networks. These customs, she would learn, have long distinguished villages in this coastal region of southeastern China from other rural Han communities. Intimate Politics explores these practices that have constituted eastern Hui’an residents, women in particular, as an anomaly among rural Han. This book asks what such practices have come to mean in a post-1949 socialist order that has incorporated forms of marriage, labor, and dress into a developmental scale extending from the primitive to the civilized. Government reform campaigns were part of a wholesale effort to remake Chinese society by replacing its “feudal” elements with liberated socialist ideals and practices. As state actors became involved in the intimate aspects of Huidong women’s lives, their official models of progress were challenged by the diversity of local practices and commitment of local residents. These politicized entanglements have generated what the author calls “intimate politics,” a form of embodied struggle in which socialist civilizing agendas—from the state-sponsored reforms of the Maoist decades to the market-based “reform and opening” of the post-Mao era—have been formulated, contested, and, in some cases, transformed through the bodies and practices of local women."
Eating Spring Rice is the first major ethnographic study of HIV/AIDS in China. Drawing on more than a decade of ethnographic research (1995-2005), primarily in Yunnan Province, Sandra Teresa Hyde chronicles the rise of the HIV epidemic from the years prior to the Chinese government's acknowledgement of this public health crisis to post-reform thinking about infectious-disease management. Hyde combines innovative public health research with in-depth ethnography on the ways minorities and sex workers were marked as the principle carriers of HIV, often despite evidence to the contrary. Hyde approaches HIV/AIDS as a study of the conceptualization and the circulation of a disease across boundaries that requires different kinds of anthropological thinking and methods. She focuses on "everyday AIDS practices" to examine the links between the material and the discursive representations of HIV/AIDS. This book illustrates how representatives of the Chinese government singled out a former kingdom of Thailand, Sipsongpanna, and its indigenous ethnic group, the Tai-Lüe, as carriers of HIV due to a history of prejudice and stigma, and to the geography of the borderlands. Hyde poses questions about the cultural politics of epidemics, state-society relations, Han and non-Han ethnic dynamics, and the rise of an AIDS public health bureaucracy in the post-reform era.
Picturing Power in the People's Republic of China by Harriet Evans,Stephanie Donald Pdf
Provides an innovative reinterpretation of the cultural revolution through the medium of the poster -- a major component of popular print culture in China.
This work is an introduction to the cinema of mainland China from the early 1930s to the early 1990s. Emphasizing both film contexts and film texts, this study covers a broad cinematic analysis that includes investigations of cultural, cross-cultural, social, ethnic and political issues.
China's Mongols at University by Zhenzhou Zhao,Wing On Lee Pdf
Minority students in China often receive preferential treatment for access to universities. However, very little is known about minority student experiences and perceptions on campus after they are accorded what's called "meaningful access" to university. The Mongols emerged as a distinct ethnic group in China starting in the 11th century and, in the centuries that followed, conquered a large part of the world. However, in modern times this nomadic people's influence has declined, and even their survival in China has been threatened. This decline is evidenced by the fact that increasing numbers of Mongols have abandoned their native language and traditional customs, especially those who live in cities. How do Mongol university students, who form the backbone of the Mongol intellectual community, identify themselves in a modern Chinese context? How do they react as university students to the way in which their culture is recognized and represented? Do Mongol students suffer from injustice in the cultural dimension of campus life? China's Mongols at University: Contesting Cultural Recognition seeks to answer these questions. Zhenzhou Zhao addresses these issues by comparing the university discourse (on minority culture policy, institutional structure and daily life) and the Mongol student discourse (concerning their experiences, perceptions of recognition, and dedication to self-representation on campus) Additionally, Gao compares three universities in China. Located in Inner Mongolia Autonomous Region, Beijing, and Hubei Province, respectively, each of these universities represents one of three types of higher education accessible to minority students in China: universities located in ethnic areas, standard universities, and universities for nationalities. China's Mongols at University explores and discusses an intrinsic connection between marketization and globalization and the disadvantages faced by minority groups. This book argues that China must move from a policy of preferential tre
Painting In The People's Republic Of China by Arnold Chang Pdf
The relationship between politics and art in any society should not be seen simply as one of cause and effect. Political and artistic issues are linked to one another through a complex network of interactions and associations. In the People's Republic of China, where all aspects of society are directly related to politics, and where the creation of art is in itself considered a political act, this relationship is more clearly defined than elsewhere, though no less complicated. In China, the government plays a direct and active role in overseeing the nation's artistic production, and in determining the criteria for critical judgment. This study is divided into three sections. Chapter 1 outlines the major statements of artistic policy and the theoretical structure upon which the. policies are based. Chapter 2 deals with the effect of the artistic policies upon artists, and the reactions of painters to the political demands placed upon them. The third chapter will focus on the experiences of three such artists, Kuan Shan-yueh, Li K'o-jan and Ch'ien Sung-yen. All three specialize in landscape, a genre that has been especially problematic, and all three incorporate both Western techniques and traditional Chinese methods of drawing.
