國立虎尾科技大學 |

Migrating Subjects : = The Problem of the "Peasant" In Contemporary Chinese Art.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Migrating Subjects :/
其他題名:	The Problem of the "Peasant" In Contemporary Chinese Art.
作者:	Eschenburg, Madeline.
面頁冊數:	1 online resource (265 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.
Contained By:	Dissertation Abstracts International79-12A(E).
標題:	Art history. -
電子資源:	click for full text (PQDT)
ISBN:	9780438364233

Migrating Subjects : = The Problem of the "Peasant" In Contemporary Chinese Art.
Eschenburg, Madeline.

Migrating Subjects :The Problem of the "Peasant" In Contemporary Chinese Art. - 1 online resource (265 pages)

Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2018.

Includes bibliographical references

My dissertation, Migrating Subjects: The Problem of the "peasant" in contemporary Chinese Art presents the narrative of contemporary artworks in China made about marginalized communities, as exemplified by migrant workers and rural inhabitants, from the 1990s to the present. These groups, often referred to as nongmin in popular discourse, were upheld as revolutionary heroes throughout much of the 20th century, but lost their cultural valence with the onset of China's integration with global market mechanisms in the late 1970s. By examining artworks involving nongmin participation from the 1990s to the present, this study explores, for the first time, the ways in which Chinese artists have continued to make art with the goal of helping these communities against the background of contemporary artists' own cultural marginalization in the early 1990s, their acceptance into the international art arena over the turn of the century, and their provisional embrace by the Chinese central government at the beginning of the 21 st century. It considers the new relational possibilities introduced when a time-honored subject (the "peasant") is approached through the direct participation of nongmin communities in comparison to imagistic renderings in traditional media. Through this historical narrative, I argue that the Chinese "peasant" in contemporary art, as in the early 20th century, continues to be considered a key factor for the indigenous development of a utopian Chinese society under the changing circumstances brought about by globalization.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780438364233Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Migrating Subjects : = The Problem of the "Peasant" In Contemporary Chinese Art.
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500 $a Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.
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502 $a Thesis (Ph.D.)--University of Pittsburgh, 2018.
504 $a Includes bibliographical references
520 $a My dissertation, Migrating Subjects: The Problem of the "peasant" in contemporary Chinese Art presents the narrative of contemporary artworks in China made about marginalized communities, as exemplified by migrant workers and rural inhabitants, from the 1990s to the present. These groups, often referred to as nongmin in popular discourse, were upheld as revolutionary heroes throughout much of the 20th century, but lost their cultural valence with the onset of China's integration with global market mechanisms in the late 1970s. By examining artworks involving nongmin participation from the 1990s to the present, this study explores, for the first time, the ways in which Chinese artists have continued to make art with the goal of helping these communities against the background of contemporary artists' own cultural marginalization in the early 1990s, their acceptance into the international art arena over the turn of the century, and their provisional embrace by the Chinese central government at the beginning of the 21 st century. It considers the new relational possibilities introduced when a time-honored subject (the "peasant") is approached through the direct participation of nongmin communities in comparison to imagistic renderings in traditional media. Through this historical narrative, I argue that the Chinese "peasant" in contemporary art, as in the early 20th century, continues to be considered a key factor for the indigenous development of a utopian Chinese society under the changing circumstances brought about by globalization.
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