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The Aesthetics of Anxiety: Post-Mao ...

Lee, Jennifer Dorothy.

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The Aesthetics of Anxiety: Post-Mao Experimentalisms, 1976-1982.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Aesthetics of Anxiety: Post-Mao Experimentalisms, 1976-1982./
作者:	Lee, Jennifer Dorothy.
面頁冊數:	293 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-04(E), Section: A.
Contained By:	Dissertation Abstracts International76-04A(E).
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3665169
ISBN:	9781321374728

The Aesthetics of Anxiety: Post-Mao Experimentalisms, 1976-1982.
Lee, Jennifer Dorothy.

The Aesthetics of Anxiety: Post-Mao Experimentalisms, 1976-1982. - 293 p.

Source: Dissertation Abstracts International, Volume: 76-04(E), Section: A.

Thesis (Ph.D.)--New York University, 2014.

This item is not available from ProQuest Dissertations & Theses.

My dissertation explores the transformations of aesthetics in the early post-Mao period (1976-1982). Written, painted, and printed texts are the basis of this project. By analyzing the processes through which artists, writers, and intellectuals---those broadly understood as 'cultural workers'---sought to renegotiate the relation of aesthetics to politics, I trace this highly experimental moment in China's recent history to understand the intellectual formation of 'cultural workers' in the wake of revolution and the ambivalence of their rejection of the Mao-era subordination of culture to politics. As former Red Guards and revolutionary youth during the Cultural Revolution, the emergence of this cohort as advocates and self-conscious practitioners of modernism and 'art for art's sake' forms the narrative foundation for this project.

ISBN: 9781321374728Subjects--Topical Terms:

2122707
Asian literature.

The Aesthetics of Anxiety: Post-Mao Experimentalisms, 1976-1982.
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500 $a Source: Dissertation Abstracts International, Volume: 76-04(E), Section: A.
500 $a Advisers: Xudong Zhang; Rebecca E. Karl.
502 $a Thesis (Ph.D.)--New York University, 2014.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a My dissertation explores the transformations of aesthetics in the early post-Mao period (1976-1982). Written, painted, and printed texts are the basis of this project. By analyzing the processes through which artists, writers, and intellectuals---those broadly understood as 'cultural workers'---sought to renegotiate the relation of aesthetics to politics, I trace this highly experimental moment in China's recent history to understand the intellectual formation of 'cultural workers' in the wake of revolution and the ambivalence of their rejection of the Mao-era subordination of culture to politics. As former Red Guards and revolutionary youth during the Cultural Revolution, the emergence of this cohort as advocates and self-conscious practitioners of modernism and 'art for art's sake' forms the narrative foundation for this project.
520 $a Existing scholarship tends to conceive of early forays into modernism as a revolutionary negation, an embrace of aesthetic autonomy, and a collective movement toward depoliticization. Building on this scholarship, my project demonstrates that these forays are not merely rejections, but rather express the complexities of socio-cultural and personal relationships to the radicalism of the past. I examine the ways in which art was perceived, both during and immediately after the revolutionary era, as a specifically human endeavor that produces aesthetic objects imbued with social significance. In this light, I argue that Chinese modernism after Mao, rather than constituting a total negation, instead entailed a process of self-formation that encompassed, and at times embraced, the ethos of the revolution. Experimentalism in the language of poetry, or in the representation of images, signified not simply the birth of new art as such, but pointed also to the processes by which human life and sociality were to be evaluated anew. My dissertation considers these processes of evaluation to be expressions of selfhood composing modern aesthetics that were essential and endemic to cultural production in post-Mao China.
520 $a Each chapter approaches the work of a particular cultural figure in the immediate post-Mao period to examine the intermediary ground that underlies the production of culture. In so doing, I take into account the contemporaneity of apparently distinct political, ideological, and historical 'stages' and positions. Chapter 1 approaches the early poetry and fiction of Bei Dao (Zhao Zhenkai, b. 1949) through the lens of his personal narratives, which capture retrospectively the aesthetic awakening of Cultural Revolutionary youth in the 1960s and 1970s. Chapter 2 addresses the early poetry of Gu Cheng (1956-1993) by examining the context structuring its critical reception. I consider the ways in which the common perception of Gu Cheng's poetry as "difficult" reflects the struggle taking place on both sides of the author-reader relation as of the early 1980s. Chapter 3 turns to the issue of visuality, exploring the ways in which Qu Leilei's (b. 1951) drawings in the late 1970s, in their positioning as "illustrations" of poetry, call into question the presumed relation of commensurability between word and image. Chapter 4 focuses upon the paintings of Huang Rui (b. 1953) from 1979 to 1981 to consider the manner in which Huang's positioning in the social landscape of the 'Peking Spring' is expressed through his experimentation with aesthetic form. By exploring the mutual appropriations of politics and art, I examine how the push toward democracy and the political activism of this landscape is ultimately conceived aesthetically in this fleeting, yet decisive, historical moment.
590 $a School code: 0146.
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650 4 $a Asian studies. $3 1571829
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