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Arts --- Humanities --- Fine Arts - General

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The book presents a range of articles and discussions that offer critical insights into the development of contemporary Chinese art, both within China and internationally. It brings together selected writings, both published and unpublished, by Paul Gladston, one of the foremost international scholars on contemporary Chinese art. The articles are based on extensive first-hand research, much of which was carried out during an extended residence in China between 2005 and 2010. In contrast to many other writers on contemporary Chinese art, Gladston analyses his subject with specific reference to the concerns of critical theory. In his writings he consistently argues for a “polylogic” (multi-voiced) approach to research and analysis grounded in painstaking attention to local, regional and international conditions of artistic production, reception and display.

Fine Arts - General --- Art, Architecture & Applied Arts --- Art, Chinese --- Songzhuang (Group of artists) --- Fine arts. --- Fine Arts. --- Cultural Studies. --- Cultural studies.

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The Artist as Animal in Nineteenth-Century French Literature traces the evolution of the relationship between artists and animals in fiction from the Second Empire to the fin de siècle. This book examines examples of visual literature, inspired by the struggles of artists such as Edouard Manet and Vincent van Gogh. Edmond and Jules de Goncourt’s Manette Salomon (1867), Émile Zola’s Therèse Raquin (1867), Jules Laforgue’s “At the Berlin Aquarium” (1895) and “Impressionism” (1883), Octave Mirbeau’s In the Sky (1892-1893) and Rachilde’s L’Animale (1893) depict vanguard painters and performers as being like animals, whose unique vision revolted against stifling traditions. Juxtaposing these literary works with contemporary animal theory (McHugh, Deleuze, Guattari and Derrida), zoo studies (Berger, Rothfels and Lippit) and feminism (Donovan, Adams and Haraway), Claire Nettleton explores the extent to which the nineteenth-century dissolution of the human subject contributed to a radical, modern aesthetic. Utilizing these interdisciplinary methodologies, Nettleton argues that while inducing anxiety regarding traditional humanist structures, the “artist-animal,” an embodiment of artistic liberation within an urban setting, is, at the same time, a paradigmatic trope of modernity.

Literature, Modern-19th century. --- European literature. --- Fine arts. --- Nineteenth-Century Literature. --- European Literature. --- Fine Arts. --- European literature --- Literature, Modern—19th century. --- Literature, Modern --- Arts. --- Fine Art. --- Arts, Fine --- Arts, Occidental --- Arts, Primitive --- Arts, Western --- Fine arts --- Humanities --- Literature --- 19th century.

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This book explores the work of artists based in the global south whose practices and methods interrogate and explore the residue of Empire. In doing so, it highlights the way that contemporary art can assist in the un-forgetting of colonial violence and oppression that has been systemically minimized. The research draws from various fields including memory studies; postcolonial and decolonial strategies of resistance; activism; theories of the global south; the intersection between colonialism and the Anthropocene, as well as practice-led research methodologies in the visual arts. Told through the author’s own perspective as an artist and examining the work of Julie Gough, Yuki Kihara, Megan Cope, Yhonnie Scarce, Lisa Reihana and Karla Dickens, the book develops a number of unique theories for configuring the relationship between art and a troubled past.

Culture. --- Historiography. --- Fine arts. --- Global/International Culture. --- Memory Studies. --- Fine Arts. --- Historical criticism --- History --- Authorship --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Criticism --- Historiography --- Social aspects

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Selbstthematisierung und Selbstreflexion haben ihren klassischen Ort in Tagebuch, Memoiren und Brief. In der Moderne jedoch wird verstärkt das Haus als »Abdruck seines Bewohners« (Walter Benjamin) erkannt, was von einer neuen privilegierten Entäußerungsform des Ich in der Architektur zeugt. In diesem interdisziplinären Sammelband wird ein ebenso vielfältiges wie spannendes Bild davon entworfen, wie Sprache und Subjekt ihr Territorium auf das Haus ausdehnen und wie sich life writing und life building ergänzen. Ein Fazit, das alle Beiträge eint und sich erstaunlich vormodern liest: Das Ich bewohnt ein Haus, aber das Haus bewohnt auch das Ich. Der Band liefert Exkurse zu Literatur, Film und Kunst und schafft einen Überblick über deren Wechselwirkungen. Er stößt einen kulturwissenschaftlichen Diskus an über Individualität, Selbstdarstellung, Obsession und Fiktion: Willkommen in der Architektur des 21. Jahrhunderts.« Tibor Joanelly, werk, bauen + wohnen, 12 (2014) »Eine lebendige Lektüre, die einen sehr vielseitigen, vertiefenden Einblick aus verschiedenen Bereichen und Epochen in die Thematik bringt.« Annette Alberer-Leinen, BDS-Newsletter, 4 (2014) Besprochen in: Fraunhofer IRB, 934 (2014)

Architecture, Domestic --- House plans --- Architektur; Kunst; Autobiographie; Subjektkultur; Moderne; Das Ich; Kunstgeschichte; Kunstwissenschaft; Architecture; Arts; Art History; Fine Arts --- Art History. --- Arts. --- Fine Arts.