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1.
Miao Mo, born in Hua County, Henan Province in 1940, learned Chinese traditional painting under the mentorship of such masters as Zhao Wangyun and Shi Lu. He is currently professional painter with Shaanxi Province Traditional Painting Academy and member of China Artists Association. Miao is awarded the national firstgrade artist.[第一段]  相似文献   

2.
Despite deliberate efforts to promote the ideal of “One world, One dream,” the 2008 Beijing Olympics appears to have exaggerated Mainland Chinese’ perception of Chinese and Western cultural differences and increased low ingroup identifiers’ ingroup favoring emotions and perceptions. In Study 1, we measured Beijing Chinese's perceptions of Chinese and Western values before and after the Olympics. The results showed that, after the Olympics, encountering the Beijing Olympic icon increased perceived value differences between Western and Chinese cultures. Study 2 showed that in Mainland China, individuals who identified strongly with Chinese culture favored Chinese (vs. American) commercial brands more both at the beginning and toward the end of the Olympics. Moreover, although individuals with low levels of Chinese cultural identification did not display significant ingroup favoritism at the beginning of the Olympics, they did so toward the end of the Games. Together, the results suggest that the Olympics had widened the cultural divide between China and the Western world.  相似文献   

3.
In our analysis of the cultural value of the Royal Scottish Academy New Contemporaries Exhibition, we assessed the institution's role in shaping emerging artists’ careers, as well as wider cultural value. Supported by our conceptual framework of value creation, issues assessed included the expected versus experienced value of the exhibition and the individual artworks, price setting, the market mechanism surrounding the exhibition, and its enhancement. The created cultural value is facilitated by high-visibility media exposure and through development of career-enhancing networks. We have generated new insight into cultural value more generally by moving beyond dominant instrumental valuation approaches. We have addressed many of the gaps in understanding the mechanisms behind engagement with contemporary art. We have progressed theory with the assistance of our conceptual framework and supporting qualitative data. Cultural value is expressed in contemporary art through artistic production systems and its cultural messages. Artists’ cultural value is often constructed via the intrinsic worth of their work, rather than from market influences. Cultural value is often personal to the viewer, shared with others and remembered over time. It is also co-created among the other stakeholders involved.  相似文献   

4.
This paper uses cross-sectional data from the US Current Population Survey to examine employment behavior among artists before and after a major period of economic transition – the Great Recession. The analysis looks at employment behavior among artists as an occupational group compared to other creative class workers and analyzes trends in periods before, during and after the recession. The results suggest that as a result of the downturn, many artists changed occupations to non-arts-related work or left the workforce altogether; artists became self-employed, and new artists opted for self-employment over wage/salary work; artists were disproportionately adversely impacted – either unemployed or underemployed – than other types of workers. Level of educational attainment was a significant determinant of whether an artist maintained quality employment and stayed in the occupation of his choice; and gender and marital status had a bearing on artists' ability to remain employed as an artist and maintain quality employment. The analysis emphasizes the importance of examining specific occupations within the creative class before drawing broad conclusions pertaining to all occupations with this title. Future work will test the conclusions in this study by using longitudinal data on artists.  相似文献   

5.
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance.  相似文献   

6.
The Chinese Association in the Dutch East Indies, known locally as the Tiong Hoa Hwe Koan (THHK) was first established in Batavia in 1900. A key objective of the THHK’s foundation was the creation of modern schools instructing in Mandarin for local Chinese students. At the turn of the 20th century, this odd choice of instructional language led to highly charged debates about languages, pedagogical efficacy, practicality, modernity-tradition and cultural authenticity. Using underutilized source materials in the local Malay-Hokkien vernacular, this article revisits these debates amongst the Chinese in the Dutch colony. This article interrogates the transparency of common ethnicity in analyses of Chinese nationalisms that developed outside of continental China. Drawing on the concept of “literary governance” as well as comparative work by scholars on Indian and continental Chinese nationalisms, it demonstrates the significance of the colonial context which provoked the THHK to adopt the vocabulary of modernity in reworking progressive ideas circulating in displaced Chinese nationalistic circles. Notwithstanding the THHK’s promotion of Mandarin, such reworking was accomplished through vigorous acts of transliteration and translation in the hybridized Malay-Hokkien vernacular. The THHK was hardly on the receiving end of nationalistic influences emanating from the proverbial China core but was an active agent in what has been described as a “global moment of Chinese nationalism.” The case of the THHK demonstrates the need for a finer understanding of multivalent histories of Chinese nationalisms as well as how these histories intersected with those of European colonialism in Southeast Asia.  相似文献   

7.
Many authors have pointed to the internet’s potential to increase connectivity across the world, which would imply an equalizing effect, yet few researchers have examined this. At the same time, the increasing usage of social media by popular culture celebrities for self-promotion has been signaled. We study the extent to which social media can reduce inequalities in mainstream media attention between artists from central cities in popular music production (e.g., New York, London) versus more peripheral cities. We distinguish between media attention by institutionally embedded music critics and lay users on the internet. The results show that artists coming from more central cities have higher chances to get attention in mainstream media—both by institutional critics and lay users—than artists from peripheral cities. Building a fan base on social media such as Facebook, Twitter, or MySpace can compensate for some of this inequality, but not for all of it.  相似文献   

8.
Abstract

This article opens up the question of modernity in relation to Yan’an woodcuts by recounting the Matisse debate among artists in Yan’an circa 1942, during the War of Resistance against Japanese occupation. Yan’an woodcuts did not move in a direction akin to the stylistic reform engaged by Western modernism; instead they pushed modern Chinese woodcuts to develop according to the requirements of ‘national form.’ Yan’an woodcut artists’ exploration of ‘national form’ involved a synthesis of folk aesthetics and woodcut techniques with the creation of modern‐style woodcuts, and a synthesis of revolutionary content with the artistic expression of national form. In this way a new kind of artistic ideal was realized. Compared with contemporary artistic questions in the West, the formal questions of Chinese revolutionary art surpassed the artistic as such to support rich social content and revolutionary discourse. The establishment of national language in art accords with the desire and imagination to construct of a new kind of modern nation‐state.  相似文献   

9.
In recent years, a small but growing body of scholarship has emerged on the category of the Chinese art district, particularly its institutionalisation amidst twenty-first century creative industries polices. Such research presents important stories of Chinese artists’ negotiations with urban and political authority, thus nuancing paradigms for the comprehension of political work within contemporary China. This current article contributes to this growing research area by considering the spatial conditions for these socio-spatial categories’ emergence, namely, the urban structures in which they first took shape in 1990s Beijing. First occupying traditional villages (cunzi) and later ex-socialist work units (danwei), these arts colonies appropriated existing communal architecture, and turned their designs and physical buildings to their own communal ends. Importantly, these sites were made available by the dramatic reconstruction of the city, and in this sense these occupations were limited to the temporal realm. To describe the nature of occupations, and their eventual impact upon the shape of the city, this paper proposes the category of “the temporal pocket”: a cellular and temporary inhabitance, defined by the shared investments of its participants, and one that is both discrete (in the sense of its spaces) and discreet (in the sense that this can be understood as a non-oppositional politics). The article is informed by spatial and cultural theory, literature on Chinese urban planning and art history, as well as primary documents (such as documentaries, art works and archival material) and interviews conducted by the researcher in Beijing.  相似文献   

10.
With the trend of globalization, promising development in China has attracted a growing number of descendants of Chinese immigrants who choose to return to China to pursue higher education. Furthermore, the cultural pluralism that accompanies economic globalization is increasingly changing the pattern of world civilization. However, this leads to new issues of conflict, integration, and symbiosis between different cultures among international students. To address a gap in the literature, this study explored the trajectory of how international students of Chinese origin transcend their identities and build intercultural identities during their higher education study in China. The study investigates 13 participants from different countries, focusing on the process of (re)shaping identity under multiple cultural backgrounds and how they understand this process. These findings show that for students to adapt to Chinese culture it is crucial to encourage them to mitigate language barriers, awake cultural memories, consolidate values, expand educational exchanges, and continue to improve international understanding and broad recognition from an intercultural perspective.  相似文献   

11.
ABSTRACT

This study will take two cases from East Asia to illustrate how visual archive/archiving has become or potentially becomes new space where image, heterogeneous temporalities and ideas of the common may lead to a redefinition or at least reconsideration of the binaries between public and private, between image and visual, between past and future. In contrast to historical archives, such visual archives not only aim for documentation and conservation but also become the sites of creating agencies and provoking critical reflections on the idea of the public. The first case is “Center for Remembering 3.11”1 initiated by Sendai Mediatheque (SMT), where civic participation and the archiving of the post-311 Tohoku Earthquake images of the disaster-ridden region were solicited and made into an online archive. The second case is Multitude.asia, a digital archive initiated by Taiwanese activist and scholar Huang Sun-quan, who works in collaboration with students, artists, and researchers from Mainland China and Taiwan in sorting, interviewing, and editing videos and texts about alternative cultural activities and space in Asia. While discussions on the archive and the public discourse are predominated by theories from Europe and the US, the current study intends to contextualize the concepts of “the public” (gōng/ōyake), “the private” (sī/watakushi), and “the common” (gòng/ kyō) in Chinese and Japanese languages in the discourse of archive in cultural specificity.  相似文献   

12.
Jiaxing County, located in the Yangtze Delta in southeast China, is a land of abundance and home of silk. For many local peasants in Jiaxing, painting is an important means of artistic expression.Most of the artists labor in the field during daylight and paint at night. Their paintings are known for rustic styles, bright colors and plain designs, drawing extensive attention and praise of the art circle nationwide.  相似文献   

13.
Behavior art is an artistic genre of post-modernism flourishing in the 1960s and 70s in the West, and it has been imitated, explored and developed by avant-garde Chinese contemporary artists ever since the late 1980s. Some of them devote themselves so wholeheartedly to pursue and experiment it tnat graoually they have out their unique style and attracted attention home and abroad. Yin Xiaofeng, a gifted young artist from Chengdu, dramatically demonstrates the wonder and power of behavior art by harmoniously contrasting the ancient and the contemporary, the traditional and the modern, the Chinese and the Western, with his wit, his thought, his body and those rubbles buried in ruins for thousands of years...[第一段]  相似文献   

14.
In response to the underachievement of its Latino children, one district implemented Parent Partnership for Achieving Literacy (PAL), a program to build cultural bridges between home and school. Professional development (PD) that helped mainstream teachers develop cultural competence to work effectively with Latino children and their families was central to the PAL Program. This article introduces the PAL program and presents findings from one PD course. This article discusses the elements of PD that are essential to increasing cultural competence in mainstream teachers.  相似文献   

15.
The 4th World Forum on China Studies(WFCS),featuring the theme of coexistence in harmony:China's integration with the rest of the world,was opened in Shanghai in November 6,2010.Four masters received the Research Contribution Award in China Study.They are Igor Rogachev,former Russian ambassador to China,Mori Kazuko,Japanese leading figure in the study of contemporary China,Jacques Gernet,eminent French sinologist,and Philip A.Kuhn,Francis Lee Higginson Professor.This award is a permanent honor granted to th...  相似文献   

16.
ABSTRACT

This study investigates the spatial practice of a subcultural activism of the “young radicals” in Seoul, South Korea through the lens of urban commoning. As a cohort of people born after the 1980s, these young musicians, artists, and cultural activists have endeavored to create, produce, and transform urban spaces through involvement in a series of anti-eviction protests. In particular, this study investigates how and why radical musicians, artists, and their associates have negotiated the chasms among their personal lifestyle, collective subculture, and political activism by pursuing their spatial practices for self-standing and survival over the past 10 years. Although not necessarily place specific, several cases are drawn from a group that relocated to the central area of Seoul since the mid-2010s, making its urban activism a subcultural (and transcultural) formation.  相似文献   

17.
In Canada, government initiatives for the measurement of cultural value can be traced to the 1949 Royal Commission on National Development in Arts, Letters and Sciences, and later evolved to include more empirical measurement with the Culture Statistics Program (1972) as well as research into the social dimensions of cultural investment. In 2009, Statistics Canada launched a four-year Feasibility Study to culminate in the creation of a Canadian Culture Satellite Account (CSA), an accounting framework to measure the impact of culture, the arts, heritage and sport on the Canadian economy. Taking account of both the recent and broader historical context out of which the CSA emerged, this paper examines its intended use and future plans. The CSA is a useful tool to the Government of Canada in supporting its activities related to the funding of culture, but this paper takes the position that it is not in and of itself a sufficient means for measuring the value of culture in Canada, and so it is best understood as part of a constellation of tools with differing but complementary approaches.  相似文献   

18.
The 50th Venice Biennale of Art 2003 took the theme of ‘Dreams and Conflicts: the Dictatorship of the Viewer’, a theme that was said to reflect the difficulties of presenting art to diverse global audiences, with their own very different points‐of‐view. As an event, the Biennale has two tracks, one features works specially curated for the event, without necessarily any reference to place of residence of artists; the second track is specifically state‐based, where state art establishments present the work of ‘their’ artists in dedicated spaces, or even specially‐built permanent pavilions. This essay is structured as an art review, a statement of relative success or failure of aesthetic projects, mixing journalist convention, some light exegesis and purely subjective personal comment. Such review essays are relatively uncritical of the very frame of viewing and judging, and rarely make very clear the scale against which projects are measured. In this case, the main criteria for such ranking of the national pavilions was how they balanced the sort of self‐awareness that art in the early 21st century seems to require, against the implied aims of state promotion, and a sensitivity to styles or flavours of work prevailing in the world of the major Euro‐American arts institutions. This article goes on to consider several other artists and entries, and notes that few works were site‐specific to ‘Venice, Italy’, (as opposed to ‘place where important Biennale is held’). One exception was Fred Wilson’s work in the US pavilion. Work by practitioners based in Asia was reasonably well‐represented in the curated sections of Venice, particularly through the show orchestrated by Hou Hanru, a China‐educated curator who has made his career in Paris since 1990. While individual curators are able to move in circuits between Asia and Europe or North America, it is unclear how art circuits in various Asian territories will continue to interact with the larger Biennale circuit, and indeed the international commercial art market. Clearly the ‘national’ approach still has some momentum, and we can expect curators and state arts organizations to become more nuanced in their presentation.  相似文献   

19.
The empirical research has not provided definitive answers to questions about how to assess and report academic adjustment and whether or not it influences psychological and sociocultural adjustments. This study is a longitudinal investigation into the relationship between academic and psychological adjustment of international students from South Asian countries in a cross-cultural learning context who partied in Teaching Chinese to Speakers of Other Languages (TCSOL) teacher education programs in Chinese universities. Using Zun's Self-Rating Depression Scale and the self-developed Scale of Academic Adaptation, the first test in December 2017 (T1) and the second in December 2019 (T2) were conducted to measure depression, learning motivation, learning behavior, learning efficacy, academic achievement, and satisfaction of South Asian students. The paper discovered significant positive correlations between five variables, indicating an interaction between the five aspects showing how involved and effective overseas students were in learning in China and a cross-lagged relationship between depression and academic adjustment. This longitudinal empirical study of international students in China aimed to help expand the application of cross-cultural adjustment theory in different educational backgrounds, and provide diverse samples and methods different from the traditional western perspective.  相似文献   

20.
Cultural policies and cultural policy-making are closely associated with creativity and cultural innovation. While the festivals, large-scale art exhibitions and literary conferences supported by such policies play a vital part in the cultural landscape, in recent years they have been increasingly criticised as actually preventing creativity and innovativeness. The claim is that they foster a limited number of creative individuals while rejecting others, and that they are dominated by Western cultural norms that erase cultural diversity. A lack of wide-ranging empirical data with which to substantiate such claims, particularly from an historical perspective, has led to the creation of a 15,000-entry database with the names, nationalities and other details of the artists participating in perennial exhibitions, such as documenta, the Havana Biennial, Istanbul Biennial and Gwangju Biennale. These biennials and perennial exhibitions are widely regarded as vital to the definition of artistic standards and innovations in the visual arts, as exerting an important influence both in their home countries and abroad, and as encouraging the participation of artists from around the world. The first part of this paper considers which artists have appeared in regularly occurring exhibitions, determining whether the majority of them are, indeed, the same and whether there is any bias towards a particular cultural region. The second part inquires whether biennials and other regularly occurring exhibitions in the Western hemisphere “ignore” artists from other regions, or whether they, in fact, represent a global perspective. In short, this paper explores the cultural diversity of these perennial exhibitions and determines whether they favour artists from particular regions, while excluding others. The findings reveal that the data do not support these assumptions and that international exhibitions do, in fact, contribute to creativity, diversity and multiculturalism.  相似文献   

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