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摘要:Over 30 items in Walter Benjamin’s The Arcades Project were about China,through which we could roughly know Benjamin’s understandings and interpretations towards China.In his explanation of the illustration Le triomphe du kaleidoscope,ou Le Tombeau du Jeu chinois,(the triumph of Kaleidoscope or the Demise of Chinese Games),Walter Benjamin captures characteristics of Cubist art in European Modernism rather than the conflict between Chinese and Western culture.These items about China have mentioned numerous Chinese utensils and presented a sense of curiosity and glory of things“from China”.Moreover,Walter Benjamin paid special attention to traditional Chinese shadow play and urban garbage disposition in China and quotations of Karl Marx’s works as well.
摘要:The study of Dragon-Carving and the Literary Mind in Russia began around 1918.The Chapter“Tracing the origin of the Dao”translated by B.M.Alexeyev,the founder of modern Russian Sinology,is the earliest Russian translation of this book.He proposed a lot of problems inspiring future generations to think about,standardizing the direction for the future researchers of“Dragon Study”in Soviet Russia.L.D.Bozdneeva’s textbook Medieval Eastern Literature(1970),K.I.Grekina’s Monograph Chinese Literary Theory in the Early19-20th century(1971),V.A.K'ri'vzo'v’s paper Discussion on Liu Xie’s Aesthetic Views(1978),I.S.Lisevich’s Monograph Ideology of Chinese Literature at the Turn of the Ancient and the Middle Ages(1979),and Li Fuqing’s paper published after the dissolution of the Soviet Union,Genre of Chinese Medieval Literature(1994),have made a useful discussion of the concept and terminology,literary theory and aesthetic ideology of the Dragon-Carving and the Literary Mind.In the monograph Tai Chi:the Global Model in Chinese Literature and Culture in the 1-13th Century,published by K.I.Gorekina in 1995,Dragon-Carving and Literary Mind was interpreted by universe ontology,which reflects the rising of new academic trend in the research of“Dragon Study”in Russia.In recent years,young talents begin to join in Russian Dragon-Carving and Literary Mind research,and doctoral thesis focused on it have been published,showing a good situation that this research has qualified successors.
摘要:As a psychoanalytic philosopher,Zizek shows great interest in such Pre-Qin thoughts as Confucianism and philosophy of Chuang Tzu,and relates them to Lacanian philosophy.Through the psychoanalytic analysis of“butterfly”image in The Butterfly Dream,M.Butterfly and so on,Zizek interprets ancient Confucian culture,thus visualizes the image of ancient China as an existing“Other”to the West.His Chinese butterfly image and cultural mirror image have some kind of fundamental homogeneity.FromZizek's analysis of butterfly image,we can see how he conceptualizes ancient China by constructing the fantasy of butterfly,and how western scholars understand modern China through the mirror image of the Other.Understanding howZizek views China can provide us with a perspective to reflect upon cultural exchange between China and the West.
摘要:This paper mainly discusses Gilles Deleuze and Félix Guattari’s researches on Chinese immanent becoming,they explain the theory of rhizome,the theory of becoming and the immanent philosophy from the relation between the grass and China,the line and Chinese Poetry Painting,the figure and chinese thougth,and display the others'visual angle from which they enter into Western philosophy by Chine.Meanwhile,by the intermediary of French sinologist Fran?ois Jullien,Deleuze and Guattari encounter the immanent transcendence of modern neo-confucianism on the plane of immanence.This shows the interleaving operation between Chinese thought and western philosophy,and presents the movements of the thoughts which become each other and fuse each other between Chinese thought and western philosophy.
摘要:Rudolf Arnheim’s Gestalt art theory examines visual perceptual forces and the phenomenon of“isomorphism”in psychological movement by exemplifying Chinese images as T’ai-chi tu.By raising these Chinese examples,he points out the similarities of western and Chinese aesthetic theories.He deploys Chinese thought,especially Taoism,to complement the deficiency of western thought.Taoist thought enlightened him to a new path to critically reflect the western traditions of dichotomies,which sharply divides perception from thinking,and art from science.Arnheim examines Chinese art from a perspective of western psychology,and also reflectson western theories taking Chinese culture as a mirror,in order to supplement western experience and construct a universal scientific aesthetic theory.
摘要:Culture has been exerting an even greater influence on China’s image construction and nation branding in today’s globalizing world.As“culture”is the core of Chinese soft power strategy,the concept of“soft power”has been redefined as“cultural soft power”in the Chinese context.Cultural instruments,including the Chinese language as well as traditional and popular cultures,are widely implemented as the“charm”tools to wield and project China’s soft power.Cultural diplomacy is also viewed as an effective way to promote an understanding of China’s ideals,support Chinese economic goals and enhance Chinese national security in subtle,wide-ranging,and sustainable ways.Although Chinese soft power is still in its“embryonic phase”,partly due to its close link to the country’s economic performance and huge market attraction as well as the disadvantages generated by the political and ideological issues,it has contributed greatly to expand China’s international influence and create a circle of like-minded allies on its periphery,in which process its increasing importance shall not be neglected.
摘要:Imagination of China in Western movies presented by“exoticism”is no longer the dualism of“backward and traditional Oriental”but“advanced and modern Western”.Skyfall released recently has shown on the one hand a“modern”contemporary China,on the other hand,a cultural concept of“isolated relics of traditional China and ruins of modern China”.In Indiana Jones and the Temple of Doom,China is imagined to be a mixed land of the new and old,the Oriental and Western based on the comparison between China and India,which is considered to be primitive,traditional and brutal.Mission:Impossible III presents three sides of Shanghai in a mean way:“skyscraper”,“old-style apartment”and“ancient town”.Here we could see,the images of China in Western movies are comprehensive and complicated,conveying divergent cultural views.Moreover,increasing Chinese market constitutes a crucial reason why Western movies intend to hide their political bias but adopt a flattery attitude to Chinese culture.
摘要:When Western left-wing movement suffered setbacks in reality,its practical experience transformed into a method of text interpretation.However,rare people would ask,how could political practice revive in discourse practice?This article aims to analyze its transition through the example of Fredric Jameson’s aesthetic application of Mao Zedong’s thoughts.The influence is manifested in three ways:First,the influence of theory—variation through the journey of the text;second,the influence of practice—transformation through the extraction of the context;third,the application of Maoism—to reserve the signifier but convert the signified.In Jameson’s view,Mao Zedong’s thoughts and practice became the focus of theorists and an idealized“otherness”.
摘要:The deliberately ignorance of the subjective aspect in“sage’s intention”(圣人之意)and the omission of the interplay of differences are two major problems within the interpretation of“Chinese wisdom”which is supposed to serve as the“other”perspective to western philosophy by Fran?ois Jullien.The two missing aspects indicate the tendency of sacrificing the particularity(differences)for“the unity”.Ultimately,with the“help”of the misunderstanding of the“Chinese wisdom”,the divisions inherently in western philosophy are merely replaced by the hollow homogenization.
摘要:Stephen Greenblatt who first introduces the term“New Historicism”,for these years has gradually entered the mainstream from the edge of the academic and has influenced many fields fundamentally.For Greenblatt,the relationship between society and literature,politics and poetics,is the key to the study of Cultural Poetics.Therefore,in the thesis of“Towards a Poetics of Culture”,he debated with Jameson,considering him asalien,and taking the contemporary China as an argument in order to demonstrate that the functional distinctions between politics and poetics should be separated.Moreover,he deemed that these two must be adjusted in order to adapt to each other.If we learn from the methodology of New Historicism that focuses on contexts and interpretation patterns,we will find that the divergence of their views can be eventually traced back to the theoretical,political and ideological differences.